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Part of the http://s.erious.ly real-time news networkSun, 18 Feb 2018 02:21:21 +0000en-UShourly1https://wordpress.org/?v=4.9.386572382018 Japan Winter Wildlife Photography Tour #1 Travelogue #1 (Podcast 608)https://www.martinbaileyphotography.com/2018/02/18/2018-japan-winter-wildlife-photography-tour-1-travelogue-1-podcast-608/
https://www.martinbaileyphotography.com/2018/02/18/2018-japan-winter-wildlife-photography-tour-1-travelogue-1-podcast-608/#respondSun, 18 Feb 2018 02:21:21 +0000https://www.martinbaileyphotography.com/?p=41859Continue reading "2018 Japan Winter Wildlife Photography Tour #1 Travelogue #1 (Podcast 608)"]]>
This tour seems to become more and more productive, despite me trying to gradually up my game, selecting my images with higher standards each year. As I prepared for this podcast I went through my current selects, which total 458 images, and on my first pass, I had a massive

images that I felt were good enough to talk about. I’ve ended up starting this first episode still not knowing how many images we have to talk about.
I guess we’ll just jump in at the start of the tour, as we got into photographing the snow monkeys. There wasn’t a lot of snow in the valley where the monkeys bathe in their hot spring bath, so the background was going to be a bit messy, but as is often the case, when weather conditions take one thing away, they generally give us something back.
The temperature was a little colder than usual, causing a lot of steam to rise from the hot water, as you can see in the first image for today (below), so with patience and a bit of luck, it was possible to capture some beautiful images of the snow monkeys at just the right time as the mist cleared around them, but stayed in the background enough to clean it up nicely.

Relaxed Grooming

The expressions on the faces of the snow monkeys as they bathe never cease to amaze me, in how human-like they are, and I felt very fortunate that the mist cleared just long enough for me to capture this moment. You might not think it from looking at this, but it really is split-second timing, so getting a nice expression at the same time as getting a window through the mist takes a fair amount of patience.
I generally only take my 100-400mm lens into the Snow Monkey park these days, as that’s all I need. My settings for this shot were an aperture of f/8 for 1/250 of a second shutter speed at ISO 1600, and a focal length of 400mm.
The next image is from our second day with the snow monkeys, and there was less mist over the hot spring pool, but again, a great expression in this snow monkey as it relaxes in the bath (below). This time the monkey looks a little like an old curmudgeon with the way its lips are being pushed out by the side of the pool.

Curmudgeon?

Because it had been snowing, there are lots of droplets of water in the monkey’s hair, which has become a bit frizzy from the moisture too, adding an almost comical element. I cropped this down just a tad around the top and side edges, for a closer look, but I was zoomed to the full extent of my lens at 400mm for this shot. My ISO was set to 1000 for a 1/320 of a second exposure at f/8.
Capturing the expressions on the monkeys’ faces or their human-like mannerisms has become a bit of an obsession for me over the years, so I was happy to capture this next image too, of a young monkey riding its mother’s back with his finger in his mouth (below).

Snow Monkey Sucking Its Finger

The mother here is foraging for grain that is thrown out for them by the park wardens, and this was one of the few areas where there was a good full snow covering, so that worked well. It’s great that these monkeys have snow on their backs too, as that helps to show how harsh their environment can be. My settings were ISO 400 for a 1/500 of a second at f/8, and I was relatively wide with a focal length of 170 mm for this.

Monkey Huddle

The last image (right) that I want to share from the snow monkeys is from later in the day, down the valley a little, where we often find monkeys huddling together to keep warm.
These can be difficult shots to compose, as the background was just brown rock, with some patches of bright snow, so I went in as close as I could to crop all of that out.
It felt natural to go to the vertical portrait orientation, as that helped me to get the three adult monkeys’ faces in while including the baby’s face and his mother’s hands.
I was aware that I was cropping away the two smaller monkeys hands and cutting the mother’s ear in half, but I felt this was necessary to really show the expressions on the monkeys’ faces while keeping the background to a minimum.
I’m very happy with the results though. I get so much from the expressions on these faces, especially the middle monkey with its eyes closed. We can read many different feelings or emotions into that expression.
My settings were ISO 1250 for a 1/400 of a second at f/11, and a focal length of 321 mm.
The third morning with the snow monkeys was somewhat uneventful, with most of the monkeys staying up in the sunlight on the mountains rather than coming down to the pool or the valley, so I didn’t really get anything to share from our final few hours in the park for tour #1.
After returning to Tokyo and spending a night in the hotel near the airport, we flew to Hokkaido bright and early the following morning and went straight to the Akan Crane Center. Apparently, there has been so little snow in Eastern Hokkaido this year that the grass was still showing until two days before we arrived. Luckily, there had been some snow, but as you can see in this first photo (below) it had been well trodden by the cranes and swans, and the harsh sunlight didn’t make it look as good as we’d hoped.

Crane Song

Still, it was nice to catch these two cranes singing in an open area, and I love how the wings and tail of the crane to the right are splayed open so that we can see all the beautiful detail inside. That and the fact that we can actually see their thin tongues makes up for the fact that the birds would otherwise simply be looking in the wrong direction. My settings were ISO 400 for a 1/1000 of a second at f/11, and I was using my 200-400mm lens with the 1.4X Extender engaged, for a focal length of 560 mm.
In this next image (below) we see two red-crowned cranes crossing as they sang together, and once again, apart from a swans head in the bottom right of the frame, which I cloned out, they were in a clear enough area that I was able to capture them with some nice space around them. I do wish the snow was less textured, but there wasn’t a lot we could do about that. I was more just happy to have any snow at all at this point.

Crossing Cranes

It’s also a pity that these cranes were so far to the right of the field that the sun wasn’t catching their eyes, giving them a catch-light, but had I been further to the right myself, I would obviously not have gotten this angle and the cross-over, so there is always an element of luck, whether it works for us or against us. I’m still happy with the photo mind. My settings were ISO 400 for a 1/1250 of a second at f/10, again at 560 mm.
At the end of our first day in Hokkaido, we moved to a place where I like to do some panning shots as the light drops. The wind direction caused most of the cranes to fly away from where we are able to photograph them from, but I still got a few shots that I quite like, such as this one (below).

Crane Wings

Although I like to get the heads of birds sharp in my panning shots, the reality is that at 1/40 of a second you really will only get just a few images where that happens, and sometimes, as with this image, the aesthetic nature of other parts of the image win over the technical desire to get a sharp head. Here I simply love the shape of the feathers, especially those on the right wing of the right of the two cranes. You can almost feel the air rushing between those flight features causing them to ripple as they have here.
My settings were ISO 100 for a 1/40 of a second, at f/14, at 533 mm. I find that around 1/40 of a second is a nice sweet-spot for panning images with large birds like these. I try to work between a 1/25 and a 1/50 with a 1/25 giving much more blur, but also getting much more difficult to get anything sharp enough to act as a visual anchor for the image.
We went to the Otowa Bridge at dawn on our second morning in Hokkaido, but unfortunately, it clouded over as we waited for the sun to rise, so hoarfrost did not form on the trees either side of the river. I got a few nice shots of some of the crane’s flying towards us as they left the river, but the dark background really doesn’t work very well, so I’ll keep them to myself.
Last year we had so little success finding a Ural owl on the nests that I know that we usually visit later in the tour, that I decided to take the group to a nest that is close to where we photograph the cranes. The local photographers have done a good job of putting ropes in place at a point where you can’t get so close that you might disturb the owl too much, and more importantly, this stops people throwing things at the tree to wake the owl up, or make him fly.

Happy Owl

And yes, you’d be amazed, but there are people from certain neighboring countries that have been seen doing this. This is also why so many of the owls have moved deeper into the woods, so now there are fewer photo opportunities for all of us, thanks to irresponsible actions of a selfish few.
Because of the new distance, I had to put a 2X Extender on to my 200-400mm lens, and with the internal 1.4X Extender engaged, I had to manually focus for this shot at 1,120 mm. The image is very slightly soft too, because of using two Extenders, but it’s sharp enough. I love the smiling eyes on this owl, probably because he no longer has to worry about having things thrown at him. My other settings were ISO 800, for a 1/320 of a second at f/11.
The rest of the day at the Akan Crane Center was a little uneventful again, so especially with the heavily textured snow, I don’t have any real picks, but we did visit the panning location at the end of the day again, and I quite like this next image (below) from that shoot.

Slow Take-Off

Again, the cranes were running and taking off in the opposite direction to what I usually look forward to shooting at this location, but I think this works, because of the beautiful patterns of the wings as this group of cranes starts to take off against the dark background. My settings were ISO 800, this time at my slowest panning shutter speed of 1/25 of a second, at f/14, and a focal length of 560 mm.
The following morning we revisited the Otowa Bridge, and this time we were a bit luckier with the hoarfrost, as you can see in this last image for today (below). It wasn’t the strongest frost I’ve seen, but it was enough to make the scene quite beautiful, and compared to the previous day, we got some great images.

We Three Cranes

Because it was pretty cold though, relative to already very low temperatures of course, the crane’s were not very active, except for a flurry of dancing while it was still pretty dark, and then these three crane’s walked quite a way into the foreground, but otherwise, this was more about capturing the scene. My settings were ISO 800 for a 1/400 of a second at f/14, and a focal length of 400 mm.
After breakfast on our third day in Hokkaido, we drove over to the next location where we’d planned to spend two days photographing the Whooper Swans, but when the forecast was for snow at the crane center, on our fifth day I decided to bring the group back to the crane’s where we got some pretty special images of them in the falling snow and with a much cleaner covering of snow on the ground.
That’s a few days further into the travelogue though, and as we’ve reached my usual ten photo limit, we’ll wrap it up there for today, and pick up the trail next week with some Whooper Swan shots before returning to the cranes.

Snow Monkeys & Hokkaido Tour & Workshop 2020

Our 2019 Snow Monkeys & Hokkaido Tours have been sold out for a while now, but we have just started taking bookings for 2020, so if you think you might like to join us, please take a look at the tour page at http://mbp.ac/ww2020.
Show Notes
Booking for 2020 is now open here: http://mbp.ac/ww2020
Music by Martin Bailey
AudioSubscribe in iTunes for Enhanced Podcasts delivered automatically to your computer.
Download this Podcast in MP3 format (Audio Only).
Download this Podcast in Enhanced Podcast M4A format. This requires Apple iTunes or Quicktime to view/listen.
The post 2018 Japan Winter Wildlife Photography Tour #1 Travelogue #1 (Podcast 608) appeared first on Martin Bailey Photography.]]>https://www.martinbaileyphotography.com/2018/02/18/2018-japan-winter-wildlife-photography-tour-1-travelogue-1-podcast-608/feed/01677822018 Japan Winter Wildlife Photography Tour #1 Travelogue #1 (Podcast 608)https://www.martinbaileyphotography.com/2018/02/18/2018-japan-winter-wildlife-photography-tour-1-travelogue-1-podcast-608/
https://www.martinbaileyphotography.com/2018/02/18/2018-japan-winter-wildlife-photography-tour-1-travelogue-1-podcast-608/#respondSun, 18 Feb 2018 02:21:21 +0000https://www.martinbaileyphotography.com/?p=41859Continue reading "2018 Japan Winter Wildlife Photography Tour #1 Travelogue #1 (Podcast 608)"]]>
This tour seems to become more and more productive, despite me trying to gradually up my game, selecting my images with higher standards each year. As I prepared for this podcast I went through my current selects, which total 458 images, and on my first pass, I had a massive

images that I felt were good enough to talk about. I’ve ended up starting this first episode still not knowing how many images we have to talk about.
I guess we’ll just jump in at the start of the tour, as we got into photographing the snow monkeys. There wasn’t a lot of snow in the valley where the monkeys bathe in their hot spring bath, so the background was going to be a bit messy, but as is often the case, when weather conditions take one thing away, they generally give us something back.
The temperature was a little colder than usual, causing a lot of steam to rise from the hot water, as you can see in the first image for today (below), so with patience and a bit of luck, it was possible to capture some beautiful images of the snow monkeys at just the right time as the mist cleared around them, but stayed in the background enough to clean it up nicely.

Relaxed Grooming

The expressions on the faces of the snow monkeys as they bathe never cease to amaze me, in how human-like they are, and I felt very fortunate that the mist cleared just long enough for me to capture this moment. You might not think it from looking at this, but it really is split-second timing, so getting a nice expression at the same time as getting a window through the mist takes a fair amount of patience.
I generally only take my 100-400mm lens into the Snow Monkey park these days, as that’s all I need. My settings for this shot were an aperture of f/8 for 1/250 of a second shutter speed at ISO 1600, and a focal length of 400mm.
The next image is from our second day with the snow monkeys, and there was less mist over the hot spring pool, but again, a great expression in this snow monkey as it relaxes in the bath (below). This time the monkey looks a little like an old curmudgeon with the way its lips are being pushed out by the side of the pool.

Curmudgeon?

Because it had been snowing, there are lots of droplets of water in the monkey’s hair, which has become a bit frizzy from the moisture too, adding an almost comical element. I cropped this down just a tad around the top and side edges, for a closer look, but I was zoomed to the full extent of my lens at 400mm for this shot. My ISO was set to 1000 for a 1/320 of a second exposure at f/8.
Capturing the expressions on the monkeys’ faces or their human-like mannerisms has become a bit of an obsession for me over the years, so I was happy to capture this next image too, of a young monkey riding its mother’s back with his finger in his mouth (below).

Snow Monkey Sucking Its Finger

The mother here is foraging for grain that is thrown out for them by the park wardens, and this was one of the few areas where there was a good full snow covering, so that worked well. It’s great that these monkeys have snow on their backs too, as that helps to show how harsh their environment can be. My settings were ISO 400 for a 1/500 of a second at f/8, and I was relatively wide with a focal length of 170 mm for this.

Monkey Huddle

The last image (right) that I want to share from the snow monkeys is from later in the day, down the valley a little, where we often find monkeys huddling together to keep warm.
These can be difficult shots to compose, as the background was just brown rock, with some patches of bright snow, so I went in as close as I could to crop all of that out.
It felt natural to go to the vertical portrait orientation, as that helped me to get the three adult monkeys’ faces in while including the baby’s face and his mother’s hands.
I was aware that I was cropping away the two smaller monkeys hands and cutting the mother’s ear in half, but I felt this was necessary to really show the expressions on the monkeys’ faces while keeping the background to a minimum.
I’m very happy with the results though. I get so much from the expressions on these faces, especially the middle monkey with its eyes closed. We can read many different feelings or emotions into that expression.
My settings were ISO 1250 for a 1/400 of a second at f/11, and a focal length of 321 mm.
The third morning with the snow monkeys was somewhat uneventful, with most of the monkeys staying up in the sunlight on the mountains rather than coming down to the pool or the valley, so I didn’t really get anything to share from our final few hours in the park for tour #1.
After returning to Tokyo and spending a night in the hotel near the airport, we flew to Hokkaido bright and early the following morning and went straight to the Akan Crane Center. Apparently, there has been so little snow in Eastern Hokkaido this year that the grass was still showing until two days before we arrived. Luckily, there had been some snow, but as you can see in this first photo (below) it had been well trodden by the cranes and swans, and the harsh sunlight didn’t make it look as good as we’d hoped.

Crane Song

Still, it was nice to catch these two cranes singing in an open area, and I love how the wings and tail of the crane to the right are splayed open so that we can see all the beautiful detail inside. That and the fact that we can actually see their thin tongues makes up for the fact that the birds would otherwise simply be looking in the wrong direction. My settings were ISO 400 for a 1/1000 of a second at f/11, and I was using my 200-400mm lens with the 1.4X Extender engaged, for a focal length of 560 mm.
In this next image (below) we see two red-crowned cranes crossing as they sang together, and once again, apart from a swans head in the bottom right of the frame, which I cloned out, they were in a clear enough area that I was able to capture them with some nice space around them. I do wish the snow was less textured, but there wasn’t a lot we could do about that. I was more just happy to have any snow at all at this point.

Crossing Cranes

It’s also a pity that these cranes were so far to the right of the field that the sun wasn’t catching their eyes, giving them a catch-light, but had I been further to the right myself, I would obviously not have gotten this angle and the cross-over, so there is always an element of luck, whether it works for us or against us. I’m still happy with the photo mind. My settings were ISO 400 for a 1/1250 of a second at f/10, again at 560 mm.
At the end of our first day in Hokkaido, we moved to a place where I like to do some panning shots as the light drops. The wind direction caused most of the cranes to fly away from where we are able to photograph them from, but I still got a few shots that I quite like, such as this one (below).

Crane Wings

Although I like to get the heads of birds sharp in my panning shots, the reality is that at 1/40 of a second you really will only get just a few images where that happens, and sometimes, as with this image, the aesthetic nature of other parts of the image win over the technical desire to get a sharp head. Here I simply love the shape of the feathers, especially those on the right wing of the right of the two cranes. You can almost feel the air rushing between those flight features causing them to ripple as they have here.
My settings were ISO 100 for a 1/40 of a second, at f/14, at 533 mm. I find that around 1/40 of a second is a nice sweet-spot for panning images with large birds like these. I try to work between a 1/25 and a 1/50 with a 1/25 giving much more blur, but also getting much more difficult to get anything sharp enough to act as a visual anchor for the image.
We went to the Otowa Bridge at dawn on our second morning in Hokkaido, but unfortunately, it clouded over as we waited for the sun to rise, so hoarfrost did not form on the trees either side of the river. I got a few nice shots of some of the crane’s flying towards us as they left the river, but the dark background really doesn’t work very well, so I’ll keep them to myself.
Last year we had so little success finding a Ural owl on the nests that I know that we usually visit later in the tour, that I decided to take the group to a nest that is close to where we photograph the cranes. The local photographers have done a good job of putting ropes in place at a point where you can’t get so close that you might disturb the owl too much, and more importantly, this stops people throwing things at the tree to wake the owl up, or make him fly.

Happy Owl

And yes, you’d be amazed, but there are people from certain neighboring countries that have been seen doing this. This is also why so many of the owls have moved deeper into the woods, so now there are fewer photo opportunities for all of us, thanks to irresponsible actions of a selfish few.
Because of the new distance, I had to put a 2X Extender on to my 200-400mm lens, and with the internal 1.4X Extender engaged, I had to manually focus for this shot at 1,120 mm. The image is very slightly soft too, because of using two Extenders, but it’s sharp enough. I love the smiling eyes on this owl, probably because he no longer has to worry about having things thrown at him. My other settings were ISO 800, for a 1/320 of a second at f/11.
The rest of the day at the Akan Crane Center was a little uneventful again, so especially with the heavily textured snow, I don’t have any real picks, but we did visit the panning location at the end of the day again, and I quite like this next image (below) from that shoot.

Slow Take-Off

Again, the cranes were running and taking off in the opposite direction to what I usually look forward to shooting at this location, but I think this works, because of the beautiful patterns of the wings as this group of cranes starts to take off against the dark background. My settings were ISO 800, this time at my slowest panning shutter speed of 1/25 of a second, at f/14, and a focal length of 560 mm.
The following morning we revisited the Otowa Bridge, and this time we were a bit luckier with the hoarfrost, as you can see in this last image for today (below). It wasn’t the strongest frost I’ve seen, but it was enough to make the scene quite beautiful, and compared to the previous day, we got some great images.

We Three Cranes

Because it was pretty cold though, relative to already very low temperatures of course, the crane’s were not very active, except for a flurry of dancing while it was still pretty dark, and then these three crane’s walked quite a way into the foreground, but otherwise, this was more about capturing the scene. My settings were ISO 800 for a 1/400 of a second at f/14, and a focal length of 400 mm.
After breakfast on our third day in Hokkaido, we drove over to the next location where we’d planned to spend two days photographing the Whooper Swans, but when the forecast was for snow at the crane center, on our fifth day I decided to bring the group back to the crane’s where we got some pretty special images of them in the falling snow and with a much cleaner covering of snow on the ground.
That’s a few days further into the travelogue though, and as we’ve reached my usual ten photo limit, we’ll wrap it up there for today, and pick up the trail next week with some Whooper Swan shots before returning to the cranes.

Snow Monkeys & Hokkaido Tour & Workshop 2020

Our 2019 Snow Monkeys & Hokkaido Tours have been sold out for a while now, but we have just started taking bookings for 2020, so if you think you might like to join us, please take a look at the tour page at http://mbp.ac/ww2020.
Show Notes
Booking for 2020 is now open here: http://mbp.ac/ww2020
Music by Martin Bailey
AudioSubscribe in iTunes for Enhanced Podcasts delivered automatically to your computer.
Download this Podcast in MP3 format (Audio Only).
Download this Podcast in Enhanced Podcast M4A format. This requires Apple iTunes or Quicktime to view/listen.
The post 2018 Japan Winter Wildlife Photography Tour #1 Travelogue #1 (Podcast 608) appeared first on Martin Bailey Photography.]]>https://www.martinbaileyphotography.com/2018/02/18/2018-japan-winter-wildlife-photography-tour-1-travelogue-1-podcast-608/feed/0167781This Lemony Snicket-Inspired Short Is a Creative Playbook on How to Make a Filmhttps://nofilmschool.com/2018/02/lemony-snicket-inspired-short-creative-playbook-how-make-film
https://nofilmschool.com/2018/02/lemony-snicket-inspired-short-creative-playbook-how-make-film#respondSun, 18 Feb 2018 01:51:20 +0000http://seriouslyphotography.com/?guid=40ff24a66fc9f71f8d6b9f3081e699aaContinue reading "This Lemony Snicket-Inspired Short Is a Creative Playbook on How to Make a Film"]]>
Is it an instructional film about how to make a film or a moviemaking tutorial that looks like a film? Either way, you're gonna learn something.
YouTube is absolutely chock full of helpful videos that educate us about the filmmaking process. Their formats vary widely, from talking head segments to animated video essays, but if you're looking for something a little different to hold your precious hand as you navigate the gauntlet of learning, you might want to take a look at what filmmaker Clint D'Souza's got cookin'.
Titled Limey Cricket's Series on How to Make a Film, this webseries, or short film, or whatever you want to call it, is an instructional guide inspired by A Series of Unfortunate Events that walks you through the process of taking a film from script to screen. It's entertaining and educational, so check it out below:
Read More]]>http://seriouslyphotography.com/2018/02/this-lemony-snicket-inspired-short-is-a-creative-playbook-on-how-to-make-a-film/feed/0167785CineLenses App a database of 2,000 lenses, plus a list of 500 rental houses worldwidehttp://www.newsshooter.com/2018/02/18/62502/
http://www.newsshooter.com/2018/02/18/62502/#respondSun, 18 Feb 2018 01:17:29 +0000http://www.newsshooter.com/?p=62502CineLenses App a database of 2,000 lenses, plus a list of 500 rental houses worldwide appeared first on Newsshooter.]]>http://www.newsshooter.com/2018/02/18/62502/feed/0167779Sometimes Constant Lights Are Better Than Strobeshttps://fstoppers.com/originals/sometimes-constant-lights-are-better-strobes-223069?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/originals/sometimes-constant-lights-are-better-strobes-223069?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondSat, 17 Feb 2018 22:32:00 +0000https://fstoppers.com/p/223069
There are endless benefits to using strobes over continuous hot lights, but there is one drawback: sometimes, you may actually want to capture motion blur.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/sometimes-constant-lights-are-better-than-strobes/feed/0167772Is NOT Making Films One of the Best Things You Can Do for Your Filmmaking Career?https://nofilmschool.com/2018/02/not-making-films-one-best-things-you-can-do-your-filmmaking-career
https://nofilmschool.com/2018/02/not-making-films-one-best-things-you-can-do-your-filmmaking-career#respondSat, 17 Feb 2018 21:50:00 +0000http://seriouslyphotography.com/?guid=244bb8e45bfd76b5ac9adaa179f884d2Continue reading "Is NOT Making Films One of the Best Things You Can Do for Your Filmmaking Career?"]]>
Filmmaking may be the most important part of your life, but sometimes a change of focus is needed to put everything into perspective.
Working is the key to success, right? You're not a very good screenwriter? Work. Your cinematography skills are amateurish? Work. Can't seem to get your project in front of an audience. Fuggin work, buddy! We hear this constantly; I have said it myself plenty of times: keep writing, keep shooting, keeping hustling, giving all of you simplistic axioms like, "If you're not working, you're not trying."
What a of shit.
Okay, to be fair, working is important and yeah, you need to work in order to actually do filmmaking, but what if working isn't the solution to your professional obstacles? What if the solution is actually—not—working—like, literally putting your camera down and walking away from it? Before you hurl your keyboards or laptops or phones or Bedazzlers or whatever it is you have in your hand at the moment, watch this fantastic video by Simon Cade of DSLRguide.
Read More]]>http://seriouslyphotography.com/2018/02/is-not-making-films-one-of-the-best-things-you-can-do-for-your-filmmaking-career/feed/0167776Shot Lists and Script Lining: How to Prepare Your Screenplay Before a Shoothttps://nofilmschool.com/2018/02/shot-lists-and-script-lining-how-prepare-your-screenplay-shoot
https://nofilmschool.com/2018/02/shot-lists-and-script-lining-how-prepare-your-screenplay-shoot#respondSat, 17 Feb 2018 21:42:07 +0000http://seriouslyphotography.com/?guid=3c5681961f81a343ed908f2c9c52cac0Continue reading "Shot Lists and Script Lining: How to Prepare Your Screenplay Before a Shoot"]]>
You've finished your script. Now what?
Turning a screenplay into a reference tool for production is no small task. It requires going through every single page and drawing important information from them about what kinds of shots would work best to tell the story visually. To add onto that, you're not only looking for potential shots but how long each of those shots are going to last, as well.
There are many different methods you can employ to make this process easier and less painful, and in this video from The Look, you'll get to learn about three of them. Check it out below:
Create a shot list
One of the first things you might want to do after you finish your script and prepare for production is make a shot list, which is basically just a list of shots you want to include in your film, complete with details about location, framing and composition, action, dialogue, and a general shot description. There are tons of resources online that walk you through the process of creating one, but you can also just kind of figure out what works best for you and run with it.
Read More]]>http://seriouslyphotography.com/2018/02/shot-lists-and-script-lining-how-to-prepare-your-screenplay-before-a-shoot-2/feed/0167767Shot Lists and Script Lining: How to Prepare Your Screenplay Before a Shoothttps://nofilmschool.com/2018/02/shot-lists-and-script-lining-how-prepare-your-screenplay-shoot
https://nofilmschool.com/2018/02/shot-lists-and-script-lining-how-prepare-your-screenplay-shoot#respondSat, 17 Feb 2018 21:42:07 +0000http://seriouslyphotography.com/?guid=3c5681961f81a343ed908f2c9c52cac0Continue reading "Shot Lists and Script Lining: How to Prepare Your Screenplay Before a Shoot"]]>
You've finished your script. Now what?
Turning a screenplay into a reference tool for production is no small task. It requires going through every single page and drawing important information from them about what kinds of shots would work best to tell the story visually. To add onto that, you're not only looking for potential shots but how long each of those shots are going to last, as well.
There are many different methods you can employ to make this process easier and less painful, and in this video from The Look, you'll get to learn about three of them. Check it out below:
Create a shot list
One of the first things you might want to do after you finish your script and prepare for production is make a shot list, which is basically just a list of shots you want to include in your film, complete with details about location, framing and composition, action, dialogue, and a general shot description. There are tons of resources online that walk you through the process of creating one, but you can also just kind of figure out what works best for you and run with it.
Read More]]>http://seriouslyphotography.com/2018/02/shot-lists-and-script-lining-how-to-prepare-your-screenplay-before-a-shoot/feed/0167766Sony Creates Groundbreaking Backlit CMOS Sensor with Global Shutterhttp://feedproxy.google.com/~r/PetaPixel/~3/AUtFfdY0iuE/
http://feedproxy.google.com/~r/PetaPixel/~3/AUtFfdY0iuE/#respondSat, 17 Feb 2018 20:21:29 +0000http://petapixel.com/?p=303873Continue reading "Sony Creates Groundbreaking Backlit CMOS Sensor with Global Shutter"]]>
Sony just announced a groundbreaking development in the world of camera image sensors: it has created a 1.46-megapixel back-illuminated CMOS sensor that has global shutter. This is the first-ever CMOS sensor of over 1MP that has both back-illumination and global shutter.
Backside illumination (BSI) is an image sensor design that uses its arrangement of imaging elements to increase the amount of light that’s captured, leading to improved low-light performance. While this type of design was previously used for things like astro cameras and security cameras, it has become a prominent technology in consumer still photography cameras.
In 2015, Sony’s

II became the world’s first back-illuminated 35mm full frame camera. Last year, Nikon’s D850 became the first 45+ megapixel BSI sensor.
Those BSI CMOS sensors are all rolling shutters, though, which means the pixels in a photo aren’t all captured at exactly the same time but are instead captured by scanning across the scene very rapidly row-by-row. While this can produce identical results in most cases, it does cause distortions when the camera or subjects are moving rapidly during exposure.
A photo showing rolling shutter distortions in a rapidly spinning airplane propeller. Photo by Soren Ragsdale and licensed under CC BY 2.0.

Sony’s newly developed sensor is a BSI sensor that has a global shutter function, allowing every single pixel in the frame to be captured at exactly the same time. Here’s an excerpt of the company’s technical explanation of its breakthrough design:

The new Sony sensor comes with newly developed low-current, compact A/D converters positioned beneath each pixel. These A/D converters instantly convert the analog signal from all the simultaneously exposed pixels in parallel to a digital signal to temporarily store it in digital memory. This architecture eliminates focal plane distortion due to readout time shift, making it possible to provide a Global Shutter function […]
To achieve the parallel A/D conversion for all pixels, Sony has developed a technology which makes it possible to include approximately three million Cu-Cu (copper-copper) connections in one sensor. The Cu-Cu connection provides electrical continuity between the pixel and logic substrate, while securing space for implementing as many as 1.46 million A/D converters, the same number as the effective megapixels, as well as the digital memory.

]]>https://petapixel.com/2018/02/17/sony-creates-groundbreaking-backlit-cmos-sensor-global-shutter/feed/0167761RED and Foxconn Team Up to Make 8K Cameras at 1/3 the Pricehttp://feedproxy.google.com/~r/PetaPixel/~3/BOn_uZtuEmg/
http://feedproxy.google.com/~r/PetaPixel/~3/BOn_uZtuEmg/#respondSat, 17 Feb 2018 19:25:48 +0000http://petapixel.com/?p=303864Continue reading "RED and Foxconn Team Up to Make 8K Cameras at 1/3 the Price"]]>
Cinema camera maker RED and Foxconn (best known for manufacturing the iPhone) have announced that they’re teaming up to create affordable professional-grade cinema cameras for the general public.
Nikkei reports that the two companies are aiming to slash both price tags and the physical size of cameras.
“We will make cameras that will shoot professional-quality films in 8K resolution but at only a third of current prices and a third of current camera sizes,” says Foxconn Chairman Terry Gou. RED’s cameras are popular in the filmmaking industry but cost upwards of $30,000.
Foxconn manufactured an estimated 40% of all consumer

sold worldwide in 2012, and in addition to the iPhone, it manufactures well-known products like the Kindle, Nintendo 3DS, Wii, PlayStation, and Xbox. Apple’s products account for over half of its sales, though, and Foxconn is working to reduce its dependence on Apple by branching out to new segments, Nikkei reports.
In addition to teaming up with RED, Foxconn is also expanding into the manufacturing of camera semiconductors, putting the company in competition with Sony and its market-leading core business.

]]>https://petapixel.com/2018/02/17/red-foxconn-team-make-8k-cameras-1-3-price/feed/0167749Photographer Accidentally Captures SpaceX Falcon Heavy Exhaust Plumehttp://feedproxy.google.com/~r/PetaPixel/~3/VozJssghxuE/
http://feedproxy.google.com/~r/PetaPixel/~3/VozJssghxuE/#respondSat, 17 Feb 2018 18:52:24 +0000http://petapixel.com/?p=303851Continue reading "Photographer Accidentally Captures SpaceX Falcon Heavy Exhaust Plume"]]>
Photographer Reuben Wu was at Vermilion Cliffs National Monument in Arizona last week shooting photos for his gorgeous Lux Noctis project (landscapes at night illuminated by drone-mounted LEDs) when he captured something unexpected: the exhaust plume of SpaceX Falcon Heavy rocket that launched during the day.
“I managed to capture the dissipating exhaust plume of the SpaceX Falcon Heavy as it left the Earth’s atmosphere,” Wu tells PetaPixel. “Had no idea it was launching that night so it was a tremendous surprise to see it fly into my shot.”
The Falcon Heavy was launched from Cape Canaveral, Florida, during

day, so you may be wondering how this exhaust plume sneaked into Wu’s shot at night.
“This was the final burn which took place 6 hours after launch around 7:30 pm (I always wait until dark before I make these pictures),” Wu says. “The second stage had 3 separate burns: the first just after launch (about 8 mins in) then it shut down, coasted for an amount of time, re-lit and burned again for a short while to alter the orbit. Then it shut down and then, six hours later it re-lit a third time for solar orbital insertion.
“I was puzzled by the same thing and had to ask a friend!”
Here’s the same solar orbit insertion burn as seen from the MMT Observatory on Mt. Hopkins, Arizona:

“At first when I clocked the rocket it looked like an usually bright and fast moving satellite (or missile) which had a glowing haze around it as if it were shining through cloud (it was a very clear night), but then the haze rapidly expanded into the final exhaust plume and then dissipated as Starman left the planet’s atmosphere,” Wu says.

]]>https://petapixel.com/2018/02/17/photographer-accidentally-captures-spacex-falcon-heavy-exhaust-plume/feed/0167751Instant Film, Not Digital Cameras Is the Main Reason Fujifilm Is Doing So Wellhttps://fstoppers.com/news/instant-film-not-digital-cameras-main-reason-fujifilm-doing-so-well-222998?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/news/instant-film-not-digital-cameras-main-reason-fujifilm-doing-so-well-222998?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondSat, 17 Feb 2018 17:11:00 +0000https://fstoppers.com/p/222998Continue reading "Instant Film, Not Digital Cameras Is the Main Reason Fujifilm Is Doing So Well"]]>
When we talk about Fujifilm's recent success, most of us likely point to their X Series cameras, known for their fantastic design and great system of lenses. Surprisingly however, the bulk of the company's financial success in imaging is not due to their mirrorless cameras, but rather to their Instax line of cameras.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/instant-film-not-digital-cameras-is-the-main-reason-fujifilm-is-doing-so-well/feed/0167770The Fuji X-H1http://feedproxy.google.com/~r/typepad/ZSjz/~3/or4l6KlnBUE/the-fuji-x-h1.html
http://feedproxy.google.com/~r/typepad/ZSjz/~3/or4l6KlnBUE/the-fuji-x-h1.html#respondSat, 17 Feb 2018 16:45:54 +0000http://seriouslyphotography.com/?guid=eea0a56da129a9aaf098850679510360http://seriouslyphotography.com/2018/02/the-fuji-x-h1/feed/0167745A Guide to Processing Your Own Black and White Filmhttps://fstoppers.com/education/guide-processing-your-own-black-and-white-film-222960?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/education/guide-processing-your-own-black-and-white-film-222960?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondSat, 17 Feb 2018 15:31:00 +0000https://fstoppers.com/p/222960Continue reading "A Guide to Processing Your Own Black and White Film"]]>
If you're just starting with film photography or are interested in it, processing your own film can seem a bit daunting, but it's really not that hard, especially with black and white film. Furthermore, it can be immensely satisfying. This great video will show you everything you need to get up and running as well as the entire procedure.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/a-guide-to-processing-your-own-black-and-white-film/feed/0167763Behind the scenes: Shooting a motion time-lapse in the Canadian wildernesshttps://www.dpreview.com/news/2000521624/behind-the-scenes-shooting-a-motion-time-lapse-in-the-canadian-wilderness
https://www.dpreview.com/news/2000521624/behind-the-scenes-shooting-a-motion-time-lapse-in-the-canadian-wilderness#respondSat, 17 Feb 2018 15:00:00 +0000https://www.dpreview.com/news/2000521624/behind-the-scenes-shooting-a-motion-time-lapse-in-the-canadian-wildernessContinue reading "Behind the scenes: Shooting a motion time-lapse in the Canadian wilderness"]]>
Back in summer 2017, I went on a six week adventure to British Columbia and Alberta in order to capture Canada's beautiful landscapes in the most impressive way possible. I wanted to make a time-lapse film that raises more awareness of our planet and our environment.

Planning

When it came to logistics, I tried to be as prepared as possible for this 6-week trip, and did tons of research ahead of departure. I knew I probably wouldn’t have a whole lot of internet (or time to waste on the internet) in the Canadian wilderness, and wanted to be prepared to

take things as they came. So I collected locations that I discovered on Google, on Instagram, or on other photographers' portfolios, and created a long list of spots that were worth checking out.
I didn’t have a specific shot list. I just tried to capture the most beautiful scenery and moments that I could find along my adventure. However, I paid a lot of attention to interesting details around me instead of going for spectacular vantage points only. That’s how the whole moody intro sequence was conceived. By stepping closer to the subject, I tried to approach time-lapse in a slightly different way than you see in your typical, 'epic' time-lapse films online.

Challenges

I guess my biggest challenge with shooting this project was my own safety—doing all of alone, in an area packed with grizzly bears, was pretty scary.
Hiking alone comes with a risk that I always had to bear in mind. I carried bear spray at all times, and tried to let the bears know that I was there by creating a lot of noise on the hiking trail (they can get really dangerous when they’re startled). When I set up a time-lapse shot, I always had to have an eye on my surroundings and make a lot of noise by singing or talking to myself. Over the course of my trip, that risk was something I got used to.
Being all alone also didn’t make it possible for me to camp out on location. Obviously because it is very risky, but most of all because I simply couldn’t carry camping gear along with my camera gear and slider all by myself.
As a result of this, I had trouble getting to the best possible location at the best times of day. In order to shoot at sunset or sunrise, I either had to find a location that was fairly close to the parking lot, or take the risk of hiking up or down in the darkness with my head lamp as the only light source.

This is all of the gear I brought with me into the Canadian wilderness

Gear

Since I was all alone on this mission and wanted to hike out to locations a lot, I had to keep my gear package as compact and efficient as possible. I packed my Sony a7S II and Nikon D5100 (as backup camera) together with a newly purchased Canon 16-35mm F4 and Rokinon 14mm F2.8, as well as two cheap vintage lenses: an SMC Pentax-M 50mm F1.7 and an SMC Pentax-M 100mm F2.8.
As you might have noticed, my camera package was pretty humble. That was all I had and all I could afford, and honestly—that was all I needed.
A great Sony camera with only 12 MP paired with a sharp Canon wide-angle lens that could almost do anything on location. This lens is my absolute favorite due to its great flexibility for wide three-dimensional time-lapse movements. The Rokinon lens is well-known for its night- and astrophotography abilities, as it has just little amount of coma and is wide enough to capture almost the whole night sky. The Pentax lenses are actually my first lenses I’ve ever bought. Obviously, they’re old, cheap, and not the sharpest; they’re also small, light, and capable of projecting an image onto my sensor I was totally happy with.
In contrast, my time-lapse gear was downright extravagant thanks to a sponsorship from the innovative company eMotimo. They gave me a loaner for a great package for the duration of my whole trip: The spectrum ST4 is a newly designed 4-axis motion control system that, combined with the iFootage Shark Slider S1, simply can do it all—slide, pan, tilt and even pull focus in video or time-lapse shooting mode.

Using a Playstation Controller, I could easily set up literally any shot I wanted, and the ability to set keyframes in between the start and end point of my programmed shot gave me ultimate control over my composition. Additionally, an innovation that I’ve never seen before is a mountable extra motor to automatically pull the focus as the time-lapse is running. There are many ways to mess around with that: one I used was to shift focus from an interesting foreground to the revealing scenery in the background.
Another great feature worth mentioning is the ability to repeat a programmed movement at different speeds. This allowed me to record shots at different frame rates, but still have the exact same camera movement in each.
Since I couldn't get the idea out of my head to combine a moving time-lapse shot with a real time video, with both shots having the very same camera movement, I did exactly that in the final shot of ALIVE. I recorded the whole scenery in dynamic time-lapse except for the person (me) being recorded in real-time video 25fps. Even though it took a lot of time perfectly masking out the person in post production, this shot probably wouldn’t have been possible without the spectrum ST4.

With all the flexibility of the motion control devise I felt an enormous freedom as a time-lapse photographer and could explore further ways to creatively make use of its features. However, this turned out to be a weakness as well, as I often found myself tempted to design way too sophisticated time-lapse shots. In this case, the inorganic/mechanical camera motion often drew way too much attention when watching the processed time-lapse sequence making the scenery appear surreal.
So in the process of my trip I learned that less is more in this case. It is way more important so be at the right spot at the right time—which is ultimately what I was seeking for my whole adventure.

Editing

In the editing process of ALIVE it was certainly very hard to come up with an edit as I had to choose the best among 149 time-lapse shots I recorded on my trip. Since I wanted to keep my film under 4 minutes, I forced myself to make some hard decisions. That turned out to be a pretty emotional process because every shot has a background story that connects to me personally.
It just often felt super frustrating to kick out a shot for which I woke up at 4 a.m. and hiked up a mountain for two hours in order to be there for sunrise.

A Story

Let me conclude my little behind the scenes tale with a story from Lake O’Hara, one of the most captivating landscapes I have ever experienced in person, and the final shot of the film. I decided to hike up to this incredible viewpoint for sunset and kept shooting until there was no light left to work with. That was the moment when I found myself alone in the darkness on the edge of a cliff.

The final shot of the film, captured above Lake O'Hara at sunset.

Should I take the risk of hiking down the steep and forested trail in the darkness potentially ending up as grizzly bear food? Or should I rather just stay up here all night and do another time-lapse of the milky way? Without camping gear and food, I stayed and spent another 5 hours in the cold darkness until the sun came back up.
Even though this shot of the milky way didn’t even make it into the final film, there is nothing I regret about staying up on this mountain all night all alone without a tent in bear territory... simply because it was one of these adventures that made my trip so unique.]]>http://seriouslyphotography.com/2018/02/behind-the-scenes-shooting-a-motion-time-lapse-in-the-canadian-wilderness/feed/0167735Panasonic Lumix DC-GX9 sample galleryhttps://www.dpreview.com/samples/8548799798/panasonic-lumix-dc-gx9-sample-gallery
https://www.dpreview.com/samples/8548799798/panasonic-lumix-dc-gx9-sample-gallery#respondSat, 17 Feb 2018 14:00:00 +0000https://www.dpreview.com/samples/8548799798/panasonic-lumix-dc-gx9-sample-galleryContinue reading "Panasonic Lumix DC-GX9 sample gallery"]]>
We've had some time to shoot around with Panasonic's freshest interchangeable lens camera, the GX9. This rangefinder-style camera features a tilting EVF and a 20.3MP Four Thirds sensor with no low-pass filter. It also gains Panasonic's new L.Monochrome D mode photo style, which offers deeper blacks and richer gradation than the camera's other monochrome modes. We put the new black-and-white mode to work and started to get a feel for how it handles out and about; take a look at our full gallery.

]]>http://seriouslyphotography.com/2018/02/panasonic-lumix-dc-gx9-sample-gallery/feed/0167737Day 17 #28daysofQuickTips 2018 – See original clip names in Premiere Pro timelinehttps://www.provideocoalition.com/day-17-28daysofquicktips-2018-see-original-clip-names-premiere-pro-timeline/
https://www.provideocoalition.com/day-17-28daysofquicktips-2018-see-original-clip-names-premiere-pro-timeline/#respondSat, 17 Feb 2018 13:00:23 +0000https://www.provideocoalition.com/?p=67796Continue reading "Day 17 #28daysofQuickTips 2018 – See original clip names in Premiere Pro timeline"]]>Display the project item name and label color for all instances in the Project Settings > General.
A bonus QuickTip is that option by the red arrow above. If that options is CHECKED then anytime you change the name or label color of a clip in a bin or the timeline that change is reflected in the bin or the timeline. In other words it ripples that change of name and color throughout the project. I always turn this option on.
With this Project Setting option checked then anytime

change a label color or clip name then that is also changed in the PPro timeline as you can see below with the clips where I have changed the clip name and color.
Here’s the tip: If you want to quickly see the original clip name then just grab the clip in the timeline and move it. The ghosted image of the clip as you move it will show the original clip name. See the gif below.
This is a quick way to see those file names but you can also (potentially) use the different name columns available in the column view metadata.
Depending on the format you’re working with you might see more or less name data. Why the Original Video File Name column is blank in this case I have no idea.
You have to be careful changing the clip name as it could cause issues if you’re sending an EDL for some type of conform or finishing. There is a checkbox in the EDL output box that must be checked to get the proper file name into the EDL.
What happens if you don’t check that box? You get the EDL below with incorrect clip names that do not mach the name of the files on disk you’re supplying to the colorist.
You don’t want the conform looking for files called changed and changed too in the above example. You want it looking for the original file names as in the EDL below which was exported with the Use Source File Name box checked.
Better yet just send an XML for a conform as that sends more data anyway.
Have your own editing and post-production related QuickTip for #28daysofQuickTips 2018 that you’d like to share? Know a killer Adobe Premiere Pro, Final Cut Pro X, Avid Media Composer or DaVinci Resolve tip that no one else knows? Want to possibly win a prize? Then click over to the post announcing this year’s #28daysofQuickTips and find out how you can send in your own QuickTip.
The post Day 17 #28daysofQuickTips 2018 – See original clip names in Premiere Pro timeline appeared first on ProVideo Coalition.]]>https://www.provideocoalition.com/day-17-28daysofquicktips-2018-see-original-clip-names-premiere-pro-timeline/feed/0167730Watch: Tour the Fujifilm Factory to See How Its Cameras and Lenses Are Madehttps://nofilmschool.com/2018/02/watch-tour-fujifilm-factory-see-how-its-cameras-and-lenses-are-made
https://nofilmschool.com/2018/02/watch-tour-fujifilm-factory-see-how-its-cameras-and-lenses-are-made#respondSat, 17 Feb 2018 04:30:00 +0000http://seriouslyphotography.com/?guid=bbf85e4a3bbe0c0b99f22b4444d64f91Continue reading "Watch: Tour the Fujifilm Factory to See How Its Cameras and Lenses Are Made"]]>
Here's your chance to go behind the scenes to see how Fujifilm's cameras and lenses are made.
Don't we all enjoy seeing how things are made, whether it's your meal at a hibachi restaurant or a caricature of your sexy mug in Central Park? Well, if you're a filmmaker, going on a factory tour—or watching one on YouTube, at least—to see your favorite gear be assembled piece by piece is kind of the ultimate damn thing. In this video, Johnnie Behiri of cinema5D takes you along on his private tour of the Fujifilm factory in Japan to get a peek at the production floor where some of the company's best cameras and lenses are put together by hand. Check it out below:
Though the tour was short, Behiri was able to suit up in all-white decontamination coveralls and check out the manufacturing process at the Sendai factory, which is where Fujinon MK and GF lenses, as well as the X-T2 and GFX 50S mirrorless cameras, are handmade.
Read More]]>http://seriouslyphotography.com/2018/02/watch-tour-the-fujifilm-factory-to-see-how-its-cameras-and-lenses-are-made/feed/0167727Firmware Friday: Leica SL (Typ 601), Panasonic EVA1, Sony AXS-R7 updatedhttps://www.imaging-resource.com/news/2018/02/16/firmware-friday-leica-sl-typ-601-panasonic-eva1-sony-axs-r7-updated
https://www.imaging-resource.com/news/2018/02/16/firmware-friday-leica-sl-typ-601-panasonic-eva1-sony-axs-r7-updated#respondSat, 17 Feb 2018 02:29:07 +0000https://www.imaging-resource.com/news/2018/02/16/firmware-friday-leica-sl-typ-601-panasonic-eva1-sony-axs-r7-updatedContinue reading "Firmware Friday: Leica SL (Typ 601), Panasonic EVA1, Sony AXS-R7 updated"]]>For the second week in a row, our Firmware Friday roundup is short and sweet, with few new updates arriving and relatively little to discuss over the last seven days. In all, we have news of updates for the Leica SL (Typ 601), Panasonic AU-EVA1 and the Sony AXS-R7 (this last being an accessory for the Sony F5 and F55 CineAlta video cameras).
Let&#39;s cut short any further preamble, and get right down to the meat of what&#39;s new!
Leica SL (Typ 601)
With firmware version 3.1 for the Leica SL (Typ 601), the German company has...
<br /><a class="readMore" href='https://www.imaging-resource.com/news/2018/02/16/firmware-friday-leica-sl-typ-601-panasonic-eva1-sony-axs-r7-updated'>(read more)</a>
]]>http://seriouslyphotography.com/2018/02/firmware-friday-leica-sl-typ-601-panasonic-eva1-sony-axs-r7-updated/feed/0167719Learn How to Balance Strobes and Ambient Light for Great Sunset Portraitshttps://fstoppers.com/education/learn-how-balance-strobes-and-ambient-light-great-sunset-portraits-222874?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/education/learn-how-balance-strobes-and-ambient-light-great-sunset-portraits-222874?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondSat, 17 Feb 2018 01:21:00 +0000https://fstoppers.com/p/222874
One of the most fundamental skills you can have when it comes to artificial lighting is learning to balance the ambient and strobe. This great video goes behind the scenes of a sunset portrait shoot to show how to do just that to get both a properly exposed subject and background.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/learn-how-to-balance-strobes-and-ambient-light-for-great-sunset-portraits/feed/01677395 Essential Expression Tricks You Should Know When Working in After Effectshttps://nofilmschool.com/2018/02/5-essential-expression-tricks-you-should-know-when-working-after-effects
https://nofilmschool.com/2018/02/5-essential-expression-tricks-you-should-know-when-working-after-effects#respondSat, 17 Feb 2018 01:00:00 +0000http://seriouslyphotography.com/?guid=e9d5e5841e94ff262e9128eda1f4d8d7Continue reading "5 Essential Expression Tricks You Should Know When Working in After Effects"]]>
If you want to animate stuff in After Effects without having to put in a ton of work, then check out this helpful tutorial.
Adobe After Effects makes so many things in post-production possible. You can create a virtually endless amount of awesome motion graphics and visual effects if you know how to use its many powerful tools. But that's just the thing—there are so...many...tools. If you want to learn a few ways to apply some really interesting effects (and simplify your workflow at the same time), Nathaniel Dodson of tutvid shows you really useful tricks you can use with expressions in After Effects to take your animation game to the next level. Check it out below:
Read More]]>http://seriouslyphotography.com/2018/02/5-essential-expression-tricks-you-should-know-when-working-in-after-effects/feed/0167721A First Look at the Fujifilm X-H1 With Sample Footagehttps://fstoppers.com/gear/first-look-fujifilm-x-h1-sample-footage-222869?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/gear/first-look-fujifilm-x-h1-sample-footage-222869?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondSat, 17 Feb 2018 00:27:00 +0000https://fstoppers.com/p/222869
The Fujifilm X-H1 is the company's newest flagship X Series camera, and with it come some great new features, most of which have an emphasis on video work. This great video gives a quick review of the camera's most prominent features and user experience along with some sample footage.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/a-first-look-at-the-fujifilm-x-h1-with-sample-footage/feed/0167717The Footbridge: Kinefinity TERRA 4K test footage from Philip…http://philipbloom.tumblr.com/post/170958547272
http://philipbloom.tumblr.com/post/170958547272#respondSat, 17 Feb 2018 00:20:53 +0000http://philipbloom.tumblr.com/post/170958547272

Edit of some test footage taken with the Kinefinity Terra 4K using Fujinon MK E mount lenses. Frame rates were 4K 50fps, 75fps and 100fps as well as HD 260fps (upscaled)
Graded with FilmConvert 10% off at gopb.co/filmconvert

Edit of some test footage taken with the Kinefinity Terra 4K using Fujinon MK E mount lenses. Frame rates were 4K 50fps, 75fps and 100fps as well as HD 260fps (upscaled)
Graded with FilmConvert 10% off at gopb.co/filmconvert

Filmed at Twickenham riverside

]]>http://seriouslyphotography.com/2018/02/the-footbridge-kinefinity-terra-4k-test-footage-from-philip-2/feed/0167714Why ‘River’s Edge’ Director Tim Hunter Likes to ‘Push Characters as Far as He Can’https://nofilmschool.com/2018/02/why-river%27s-edge-director-tim-hunter-likes-to-push-characters-as-far-as-he-can
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Accompanied by Nicolas Cage and Robin Tunney, director Tim Hunter experiments with noir in 'Looking Glass.'
There are many reasons why people might describe River’s Edge, an early project by veteran filmmaker Tim Hunter, as important, perhaps the most significant being the way in which the actors—Keanu Reeves, Ione Sky, and Crispin Glover—work off one another. Another reason may be due to the film's rawness and the genuine, palpable quality of its emotional depth.
Read More]]>http://seriouslyphotography.com/2018/02/why-rivers-edge-director-tim-hunter-likes-to-push-characters-as-far-as-he-can/feed/0167709Drone Causes Aircraft Crash for First Time in the US: Reporthttp://feedproxy.google.com/~r/PetaPixel/~3/wOAWy3srwnw/
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After numerous reports of illegally flown drones interfering dangerously with airplanes and even denting a US Army helicopter rotor over the past few years, a drone may have just caused an aircraft crash for the first time the United States.
Bloomberg reports that the National Transportation Safety Board (NTSB) has opened an investigation into a helicopter crash that occurred on Daniel Island in South Carolina on Wednesday.
A student pilot and instructor were flying the Robinson Helicopter Co. R22 helicopter at around 2 pm when “a white ‘DJI Phantom quad-copter drone” appeared and flew into their airspace, says a Charleston

Department report. The instructor grabbed the controls and attempted to avoid the drone, but the tail of the helicopter clipped a tree, causing a crash landing on its side.
Both the student and the pilot escaped the incident without injuries, but the helicopter’s tail was “significantly damaged” and the aircraft was totaled, The Post and Courier reports.
“The NTSB is aware of the pilot’s report that he was maneuvering to avoid a drone, but the NTSB has not yet been able to independently verify that information,” says NTSB spokesman Chris O’Neil.
“DJI is trying to learn more about this incident and stands ready to assist investigators,” DJI says in a statement. “While we cannot comment on what may have happened here, DJI is the industry leader in developing educational and technological solutions to help drone pilots steer clear of traditional aircraft.”
Authorities have not been able to locate the drone or identify its owner.
Image credits: Header illustration based on photo by Jitze Couperus and licensed under CC BY 2.0

]]>https://petapixel.com/2018/02/16/drone-causes-aircraft-crash-first-time-us-report/feed/0167703Do Photojournalism Contests Glamorize Pain and Suffering?http://feedproxy.google.com/~r/PetaPixel/~3/sGN8TJtR5gQ/
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In a break from the past, World Press Photo (WPP) released the short list of finalists in advance of naming the winners to their annual contest – arguably the most prestigious in all of photojournalism. The photos are remarkable for their composition, exposure, and intimacy. But judging by the subject matter one might surmise that we’re living in a hellish dystopia, or that the jury believes pain and suffering is the most valid form of photojournalism.
A more nuanced look at all the finalists reveals a broader range of subject matter, but that doesn’t alter the fact that the Photo

the Year candidates have an obvious and often despair-laden quality to them (as do many photojournalism contests).
The tendency to value these types of scenes and subject matter made the 2014 selection of John Stanmeyer’s photo all the more startling. In contrast to most years, Stanmeyer’s photo of migrants in Djibouti trying to catch cheaper cell signals from neighboring Somalia depicted an everyday struggle of strangers in a strange land without relying on bloodshed or violence.
Photo by John Stanmeyer
This matters because awarding the industry’s top prize to fire and brimstone images flies in the face of the actual trend of improving conditions around the world (if Bill Gates and Steven Pinker are to be believed).
Most contests provide very little guidance to their juries, which tend to rotate annually. Consistency or a longitudinal vision for a contest’s raison d’être are typically not a part of a jury’s purview. Juries are therefore likely to conform to their “brand perception” of a given contest.

Jurist Thomas Borberg said in a WPP-produced video that “You have to be able to feel a World Press Photo in your stomach. If not, it’s not a World Press Photo.” Given this position, it’s not surprising that violent images are the ones that provoke stomach churning reactions.
Media reinforces and shapes public perception whether intended or not. And the same photos and photographers tend to win multiple awards in a given year, thus generations of photojournalists are led to believe that contest-worthy images must conform to a certain look-and-feel. This isn’t just conjecture. A well-known documentary photography who eschews photo contests told me in response to the WPP images, “Disaster porn photojournalism is corrosive to that idea by constantly saturating our media world with the message that the world is hell and never gets any better. Therefore, the logic goes, things like foreign aid are a waste and trying to help places like Africa is doomed to unending failure.”
Why do the final photos have to be of a man on fire or legs beneath a body bag? Why not the world’s largest lithium-ion battery that solved an energy crisis in Australia? Why not a portrait of Tarana Burke? Are these images not salacious enough for a contest-sized appetite?
Contests (and portfolio reviews) are, for better or worse, efficient mechanisms for photographers to market themselves. This isn’t a clarion call for the elimination of either. But photographers, photo editors and contest organizers might reconsider how the selection of winners forms its own narrative of the world, and whether this narrow distillation creates a restricted and distorted view of reality.
About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.Image credits: Header photo by Ronaldo Schemidt/Agence France-Presse

]]>https://petapixel.com/2018/02/16/photojournalism-contests-glamorize-pain-suffering/feed/0167696Rooftop Films Fetes Sean Baker and Yance Ford with ‘Support That Keeps an Indie Filmmaker Going’https://nofilmschool.com/2018/02/rooftop-films-fetes-sean-baker-and-yance-ford-annual-gala-event
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Helmers of the 'The Florida Project' and 'Strong Island' call attention to the need for artist support at annual gala event.
Taking place on the evening after St. Valentine's Day, the second annual Rooftop Films Gala, held in midtown Manhattan on a rare but welcomed warm winter night, continued the week's theme of adoration and love: in this case, for one's fellow artist. In keeping with the organization's 22-year mission to both financially support and provide filmmakers with lively, outside-of-the-box venues in which to showcase their work, Rooftop Films' good will was consistently felt and over the course of the ceremony. It wouldn't be wrong to label it a holy experience: At 105 years young, St. Bart's Episcopalian Church served as an unexpectedly appropriate venue for an evening of food, drinks, live music, passionate dedications, and impassioned speeches.
Read More]]>http://seriouslyphotography.com/2018/02/rooftop-films-fetes-sean-baker-and-yance-ford-with-support-that-keeps-an-indie-filmmaker-going/feed/0167701Fireworks Shot Up-Close by a Drone and Played in Reversehttp://feedproxy.google.com/~r/PetaPixel/~3/FUsqRqXDfOo/
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This is awesome: Perfect_Tz flew a DJI Phantom 4 Pro camera drone through fireworks in Yunnan, China, reversed some of the footage, and set it to music. What resulted is this mesmerizing 3-minute short film titled, “Fireworks From Above.”
The film was made to celebrate the Chinese Near Year — today is the first day of The Year of the Dog.

Do you use Eneloop Pro rechargeable batteries in your photo equipment? You may be able to get the same performance at a much lower cost. This interesting 7-minute video from Matthew Eargle of AirborneSurfer looks into whether these relatively expensive batteries ($20 per pack of 4) are actually identical to the much cheaper IKEA LADDA batteries that cost just $5 per pack of 4.
Noticing that all of these rechargeable batteries are made in Japan, Eargle guess that there must be some overlap in the supply chain. There’s probably not that many battery factories pumping out different batteries for all

of different companies, and instead it is more likely that there is one factory that white labels its batteries for companies to slap their names onto.
The original Eneloops were made in Takasaki, Japan. The factory and Eneloop were owned by Sanyo, but Panasonic later bought the brand in 2009. Fujitsu, on the other hand, currently owns the factory. This single factory is the only one capable of producing these low self-discharge nickel-metal hydride batteries, and it supplies many brands such as Amazon, Fujitsu, Panasonic, and… IKEA.
Using his homemade battery tester, Eargle discharged both an Eneloop Pro battery and an IKEA LADDA battery. He found that they both had pretty identical discharge patterns, and when recharged things were even more similar. The IKEA LADDA had a capacity of 2301.56mAh, and the Eneloop Pro had a capacity of 2300.59mAh.
Overall, Eargle found a difference of less than 0.05% between the two batteries. Statistically speaking, they are extremely likely to be the same battery based on these tests, he concludes.
So when you find yourself needing more rechargeable batteries for your gear, keep in mind that spending more money might not actually get you a better product.
(via AirborneSurfer via SLR Lounge)

A champion skier wiped out and slammed into a group of photographers during the women’s giant slalom yesterday at the 2018 Winter Olympics. The scary incident was caught by both broadcast cameras and the photographers’ own cameras.
The 30-second clip above shows Switzerland’s Lara Gut wiping out 17 seconds into her run. Gut hurtles off the course and directly into photographers capturing the event, sending a few of them to the ground.
Thankfully, no one involved in the collision was hurt. And as you can see in the video, several of the photographers immediately lifted their cameras up to continue

“No, I‘m OK, I‘m OK,” the 26-year-old skier told reporters afterward, according to Reuters. “I asked the photographer if he was OK too and he said he was. I think it’s getting scary to be a photographer on skiing hills.”
One of the photographers involved in the crash was Getty Images photographer Sean M. Haffey, who managed to capture a series of picture-perfect shots of Gut zooming towards him:

“Sean is all OK as is his gear,” Getty Images director Anne Flanagan tells NBC. “Like a true professional, he was shooting the entire time.”
Gut says she’s planning to be back on the slopes at the Olympic Super-G event on Saturday.
(via Reuters and Fstoppers)

]]>https://petapixel.com/2018/02/16/skier-slams-photographers-olympics/feed/0167685The NY Times is Looking for a White House Photographerhttp://feedproxy.google.com/~r/PetaPixel/~3/Y2IE7I8PI8I/
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Want to be a White House news photographer for the New York Times? If that’s your dream photojournalism job opportunity, here’s some great news: there’s a job opening right now just for you.
The Times has posted a job listing for a full-time Staff Photographer position based in Washington, DC.
“The New York Times is seeking a staff photographer who will primarily cover the White House and Capitol Hill,” the listing reads. “The ideal candidate is an experienced photojournalist committed to visual storytelling of all kinds, and must possess a deep interest in and understanding of American politics and government.

In addition to covering news in the nation’s capital, the photographer will also be asked to travel, both within the US and internationally. Oh, and you may be asked to work some nights and weekends as well.
Here’s what the Times is looking for in an “ideal candidate”:

The ideal candidate is a versatile visual journalist who is technically adept and open to working in a wide array of visual approaches and formats. This position requires diplomacy, ingenuity, and the ability to convey the world of Washington to our readers with images that go beyond press briefings and photo sprays. The ideal candidate will excel under deadline pressure and will also possess excellent reporting and writing skills, as he or she will be expected to provide not only imagery, but accurate and thorough captions and accompanying reporting.
The candidate should be an excellent collaborator and should be able to generate and execute story ideas and project proposals.

If you’re interested in applying for this rare position, visit the job listing page and hit “Apply.”

This is a follow-up to A Take of Three Blurs, which I wrote in 2006 as a guide to the blur effects in Adobe After Effects.
Twelve years later, there are some new blurs in After Effects, some new best practices, and new potential for confusion.

TLDR

Use Fast Box Blur now, for everything.
But c’mon, there’s so much more to know about After Effects blurs!

The Three Oldies

This was the breakdown in 2006:
Fast Blur was a good, general-purpose blur. It was “fast” because it was just a three-iteration box blur, and box blurs can be

on the CPU. Most people’s default choice of blur at the time.
Box Blur has the exact same blur engine as Fast Blur, but with control over the number of iterations. At three iterations, it matches Fast Blur perfectly. At one iteration, it produces a useful squared-off blur effect. At greater-than-three iterations, it produces a smoother, rounder blur than Fast Blur. My advice was to reach for this blur most often, as it offers the most control.
Gaussian Blur also used the same blur engine as Fast Blur, also at three iterations. But it lacked a Repeat Edge Pixels option, so my advice was to never use it.

Where Are They Now?

All three of these venerable old blur effects are now obsolete.
Fast Blur has been renamed to Fast Blur (Legacy) and moved to the Obsolete category, as it has not been optimized for GPU rendering.
Box Blur, the blur I recommended using most often? There’s no more effect by that name.
Gaussian Blur has been renamed to Gaussian Blur (Legacy) and moved to Obsolete. I didn’t recommend you use it in 2006, and now Adobe agrees.

The New Hotness

What happened to Box Blur? It’s actually still there, just under a new name. It’s called Fast Box Blur now, and it has been optimized for the GPU. It also has a new default of three iterations.
Point of order: Where Fast Blur was “fast” because box blurs are fast on the CPU, Fast Box Blur is “fast” because it runs on the GPU.
The name change was also designed to make it easier to find for folks like me who often type “fast” into the Effects and Preset panel to search for Fast Blur.
The new After Effects Gaussian Blur is actually the old Premiere Pro Gaussian Blur. Note the negative values on the scopes corresponding with the discolored halos around the highlights.
A new Gaussian Blur was added to the After Effects CC 2017 release, and was meant to replace both Fast Blur and Gaussian Blur. However, this blur, inherited from Premiere Pro, gives different visual results than Fast Blur, and could push some dark colors into negative values when used in 32bpc. If matching Premiere matters to you, you might consider using this blur. Otherwise, I’d suggest avoiding it.
So:

Fast Blur became Fast Blur (Legacy). Don’t use it.

Box Blur became Fast Box Blur, and it’s good. Use it!

Gaussian Blur became Gaussian Blur (Legacy). Don’t use it in 2006 or now.

Premiere Pro’s questionable Gaussian Blur was added to After Effects, and takes the Gaussian Blur name. Don’t use it.

Fast Box Blur is the Future

So once we wade through the family tree of the three-now-four After Effects blurs, all is well, right? We have Fast Box Blur to meet all our legacy needs. It visually matches the blurs we’ve long used and loved. It’s fast and future-proofed. Life is good.
But there is one problem with using Fast Box Blur as a one-to-one replacement for Fast Blur: The Blur Radius control is scaled differently.
Specifically, by a factor of 0.37. In other words, a Fast Blur (Legacy) with a Blur Radius of 100 is a perfect visual match for a Fast Box Blur with a radius of 37.
I think this is because, while Fast Box Blur is an ideal replacement for Fast Blur (Legacy), it was designed to replace Box Blur perfectly, and Box Blur, it seems, had a multiplier built-in so that its previous default of one iteration would be a reasonable visual match to the old Gaussian Blur and Fast Blur effects.
So if you have long relied on Fast Blur, there’s not a modern, GPU-enabled blur that works exactly the way you’re accustomed to.

Prolost Fast Blur

Well I can fix that.
I created a simple preset that gives Fast Box Blur a new Blur Radius slider, and used an expression to multiply the value by 0.37. Hashtag math genius.
Actually, I made it a little more complex than that, because I also added a toggle called Visual Match Radius. With this on, the expressions attempt to scale the Blur Radius so that the results are visually similar at any number of iterations. Turn this off and radius just gets the simple 0.37 scale.

Why should you use Prolost Fast Blur? Maybe you’re just used to the blur values from Fast Blur. Or maybe you’d like to be able to adjust Iterations without radically affecting the size of the blur.
Don’t use Prolost Fast Blur when you need more than one blur effect on the same layer though — the expressions will break.
Prolost Fast Blur is included in Prolost EDC, my free (or pay what you like) collection of handy presets that I keep with me wherever I use After Effects.

Like all the Prolost EDC presets, Prolost Fast Blur has no dependencies that can break, so it’s safe to use in any project, even one you plan on sharing with someone who doesn’t have Prolost EDC.

Recommendations

As before, but now for different reasons, avoid Gaussian Blur.
Use Fast Box Blur for literally every blur you do in After Effects from now on (or until the next follow-up post in 2030). An Iterations setting of three is usually fine. Five is smoother. One is useful for certain effects.
If you want to replace old instances of Fast Blur with Fast Box Blur, remember to multiply the Blur Radius by 0.37. If you have keyframes on Blur Radius, you can add this expression to preserve the animation with the new values:
value * 0.37
If you want that multiplication/expression-typing handled for you, use Prolost Fast Blur. It’s Fast Box Blur with a radius that matches Fast Blur’s.

]]>http://seriouslyphotography.com/2018/02/a-tale-of-five-blurs/feed/0167667Google Removes ‘View Image’ Button from Image Search to Protect Photoshttp://feedproxy.google.com/~r/PetaPixel/~3/0cZB1ZXcpwQ/
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Google has removed the “View Image” button from its Image Search results that had allowed anyone to quickly download the original image file while bypassing the host webpage. This is a step Google is taking to help protect photographers’ copyrights.
Last week, Getty Images announced a new licensing partnership with Google (which Google calls a “settlement”) that put an end to a lengthy legal battle between the two companies over allegations of “anti-competitive” practices — Google’s search made it easy to download high-resolution photos from Getty while bypassing the Getty website.
Google and Getty Images also worked together to

Getty’s concerns, and the search giant agreed to remove the “View Image” button that’s commonly used to directly access image files. That change has now gone live.
BEFORE. What Image Search results looked like before the change, with the “View Image” button present.AFTER. What the Image Search results look like now, with the button removed.
Clicking the “Visit” button takes you directly to the webpage that the image is found on.
Google had also agreed to make the copyright notice on copyrighted photos more “prominent” for users, and that’s part of the tweaked design as well — the “Images may be subject to copyright” has been moved from being a tiny gray line of text under the buttons to a more noticeable line right beneath the photo preview.

Today we're launching some changes on Google Images to help connect users and useful websites. This will include removing the View Image button. The Visit button remains, so users can see images in the context of the webpages they're on. pic.twitter.com/n76KUj4ioD

The Search by Image button is also being removed. Reverse image search *still works* through the way most people use it, from the search bar of Google Images.
— Google SearchLiaison (@searchliaison) February 15, 2018

For those asking, yes, these changes came about in part due to our settlement with Getty Images this week (see also https://t.co/a5uFldOcih). They are designed to strike a balance between serving user needs and publisher concerns, both stakeholders we value.
— Google SearchLiaison (@searchliaison) February 15, 2018

Ultimately, Google Images is a way for people to discover information in cases where browsing images is a better experience than text. Having a single button that takes people to actionable information about the image is good for users, web publishers and copyright holders.
— Google SearchLiaison (@searchliaison) February 15, 2018

While this latest change may be celebrated by photographers and other copyright holders, others aren’t as pleased with the move.
“While it’s good to see Google protecting photographers and driving traffic to websites, it’s still hard not to be a little annoyed by the changes,” The Verge writes. “There are plenty of legitimate and legal uses for copyrighted images.
“And while it’s fair to ask users to do their due diligence by making sure they’re properly attributing photos, these changes really seem designed to stop images from being grabbed in the first place.”

Sony has made something of a breakthrough in sensor development, announcing a new backside-illuminated stacked sensor that can read out every pixel simultaneously to enable global shutter. While the company has only made it work with a 1.46-million-pixel sensor so far, the nascent technology has significant potential.
The sensor is able to read out from every pixel instantly because each pixel has its own analog-to-digital converter (ADC) buried in a 'bottom chip,' which is stacked beneath a 'top chip' containing the active, photosensitive pixels. This allows all exposed pixels to be read simultaneously, rather than sequentially row-by-row as is

with traditional CMOS sensors containing far fewer 'column parallel' ADCs.
This instant read-out avoids the rolling shutter distortion caused by the time delay as each row of pixels is recorded one after the other. In most existing chips, fast-moving objects become warped as they progress across the frame, because the pixels at the top of the sensor were read earlier than those at the bottom. This can also lead to banding under certain types of artificial lighting.
Global shutter—reading out all of the pixels at once—solves both these problems.

Shot with an exposure time of 0.56ms

Sony claims its sensor is the first back-illuminated high-sensitivity CMOS sensor with pixel-parallel ADCs and a pixel-count greater than 1 million.
While one million pixels may not be much good to photographers, this is a big step towards the production of a photographic quality sensor. Chips with 'global shutter' need only an electronic shutter to record undistorted action pictures, boast the ability to use short electronic shutter speeds with flash, and are able to work under fluorescent and solid state (LED) lighting without banding.
In the end, a global shutter sensor like this be useful for both still and movie photographers.
It's also a major improvement over current global shutter CMOS sensors, which have a photosensitive pixel, and then a 'storage' pixel that the charge is transferred to after the exposure is made. This storage pixel holds the charge until the column ADCs read out, row by row. The problem with this approach is that your active pixel area now has a bunch of dead space per pixel taken up by the 'storage pixel'.
By going BSI and stacked, we believe this technology eliminates the need for the storage pixel entirely, because you can read all the pixels at once at the end of your exposure.

The company says it has had to include 1000x more ADCs than it would normally in a 1MP sensor. The extra ADCs would require far more current, so Sony developed low current, compact ADCs for this chip. Additionally, new high speed data transfer construction allows for the fast read and write speeds required to operate all the ADCs in parallel and transfer the digital data.
While it might be some time before one is ready for use in a standard camera, this is a big step forward for global shutter sensor technology, which has traditionally been plagued by higher noise levels and lower dynamic range.
When will we see it scaled up to larger, smaller pixel pitch higher-resolution sensors? Hard to tell, but we're keeping our fingers and toes crossed.
Press Release

Sony CorporationSony Semiconductor Solutions Corporation Tokyo, Japan – Sony Corporation today announced that it has developed a 1.46 effective megapixel back-illuminated CMOS image sensor equipped with a Global Shutter function*1. The newly developed pixel-parallel analog-to-digital converters provide the function to instantly convert the analog signal from all pixels, simultaneously exposed, to a digital signal in parallel. This new technology was announced at the International Solid-State Circuits Conference (ISSCC) on February 11, 2018 in San Francisco in the United States.
CMOS image sensors using the conventional column A/D conversion method*2 read out the photoelectrically converted analog signals from pixels row by row, which results in image distortion (focal plane distortion) caused by the time shift due to the row-by-row readout.
The new Sony sensor comes with newly developed low-current, compact A/D converters positioned beneath each pixel. These A/D converters instantly convert the analog signal from all the simultaneously exposed pixels in parallel to a digital signal to temporarily store it in digital memory. This architecture eliminates focal plane distortion due to readout time shift, making it possible to provide a Global Shutter function*1, an industry-first for a high-sensitivity back-illuminated CMOS sensor with pixel-parallel A/D Converter with more than one megapixel*3.
The inclusion of nearly 1,000 times as many A/D converters compared to the traditional column A/D conversion method*2 means an increased demand for current. Sony addressed this issue by developing a compact 14-bit A/D converter which boasts the industry's best performance*4 in low-current operation.
Both the A/D converter and digital memory spaces are secured in a stacked configuration with these elements integrated into the bottom chip. The connection between each pixel on the top chip uses Cu-Cu (copper-copper) connection*5, a technology that Sony put into mass production as a world-first in January 2016.
In addition, a newly developed data transfer mechanism is implemented into the sensor to enable the high-speed massively parallel readout data required for the A/D conversion process.
*1:A function that alleviates the image distortion (focal plane distortion) specific to CMOS image sensors that read pixel signals row by row.*2:Method where the A/D converter is provided for each vertical row of pixels in a parallel configuration.*3:As of announcement on February 13, 2018.*4:As of announcement on February 13, 2018. FoM (Figure of Merit): 0.24e-?nJ/step. (power consumption x noise) / {no. of pixels x frame speed x 2^(ADC resolution)}.*5:Technology that provides electrical continuity via connected Cu (copper) pads when stacking the back-illuminated CMOS image sensor section (top chip) and logic circuits (bottom chip). Compared with through-silicon via (TSV) wiring, where the connection is achieved by penetrating electrodes around the circumference of the pixel area, this method gives more freedom in design, improves productivity, allows for a more compact size, and increases performance. Sony announced this technology in December 2016 at the International Electron Devices Meeting (IEDM) in San Francisco.Main FeaturesGlobal Shutter function*1 achieved in a high-sensitivity back-illuminated CMOS image sensor by using the following key technologies:
Low-current, compact pixel-parallel A/D converter In order to curtail power consumption, the new converter uses comparators that operate with subthreshold currents, resulting in the industry's best-performing*4, low current, compact 14-bit A/D converter. This overcomes the issue of the increased demand for current due to the inclusion of nearly 1,000 times as many A/D converters in comparison with the traditional column A/D conversion method*2.
Cu-Cu (copper-copper) connection*5 To achieve the parallel A/D conversion for all pixels, Sony has developed a technology which makes it possible to include approximately three million Cu-Cu (copper-copper) connections*5 in one sensor. The Cu-Cu connection provides electrical continuity between the pixel and logic substrate, while securing space for implementing as many as 1.46 million A/D converters, the same number as the effective megapixels, as well as the digital memory.
High-speed data transfer construction Sony has developed a new readout circuit to support the massively parallel digital signal transfer required in the A/D conversion process using 1.46 million A/D converters, making it possible to read and write all the pixel signals at high speed.

]]>http://seriouslyphotography.com/2018/02/sensor-breakthrough-sony-has-developed-a-backlit-cmos-sensor-with-global-shutter/feed/0167647A Photographer’s Review of LASIK: The Ultimate Upgrade?http://feedproxy.google.com/~r/PetaPixel/~3/oX5TgrqrANU/
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Like pretty much all photographers, I rely very heavily on my eyesight, not only for shooting but also image processing. Being a professional photographer, my life quite literally depends on my ability to see. Therefore, the idea of having my eyes cut open, lasers pointed at them, and then have them stitched back together is sort of a terrifying thing to think about.
I contemplated for years whether I should get the surgery or not; part of me was tired of constantly having to shoot through my glasses, but the other part of me was terrified of damaging my vision.

years of contemplation, research, and broken glasses, I decided it was time to go for it.
In this review, I will not only speak about my personal experiences in getting LASIK, but I will also talk a bit about what LASIK is and how it works.

So, What Even IS LASIK?

LASIK, commonly called laser eye surgery, is a surgical procedure that uses a laser to correct nearsightedness, farsightedness, and/or astigmatism. In LASIK, a thin flap in the cornea is created using either a microkeratome blade or a femtosecond laser.
The surgeon folds back the flap, then removes and reshapes the corneal tissue underneath using an excimer laser. The flap is then laid back into place, covering the area where the corneal tissue was removed. The end result is (hopefully) corrected vision that will no longer require you to wear glasses or contacts to correct your vision.

Qualifying for LASIK

Not everyone is a candidate for LASIK; you will need to have a thorough eye exam before you will qualify for the procedure. Your doctor will need to ensure that your eyes are healthy enough for the operation. He or she will evaluate the shape and thickness of your cornea, pupil size, refractive errors (myopia, hyperopia, and astigmatism), as well as any other eye conditions.
The moistness of your eyes will also need to be evaluated, and a precautionary treatment may be recommended to reduce your risk of developing dry eyes after LASIK. If you are not a candidate for LASIK, there are other procedures such as PRK that may be better suited for you.

The Statistics

If you are anything me, the idea of losing your eyesight is just unthinkable — so unthinkable that I refused to even think about getting LASIK for years because of the small off chance that it would ruin my vision. This fear is reasonable and to be expected, especially from photographers who specifically rely on their vision.
However, if you start to look into the statistics of it all, the chances of anything going wrong are exceedingly low. According to a study done by the University of Los Angeles:
1. Over 95 Percent of People Are Happy with Their Results, with 90 percent having achieved 20/20 vision or better.
2. Less Than 0.5 Percent of People Have Serious Complications. Around 0.3 percent of people have serious complications that include dry eyes and infection. In many cases, the surgeon can treat the issue and take care of the problem.
3. LASIK Makes Up 96 Percent of Refractive Procedures. There are a lot of refractive surgery options out there, including PRK. However, most people still opt for LASIK. In fact, 96 of people who get refractive surgery go with LASIK.
4. Around 700,000 Procedures Are Performed Each Year. This makes LASIK not only the most common refractive surgery but one of the most common surgeries overall.

About Me

I was nearsighted, meaning that I could see fine close up but seeing things far away was difficult. I started with 20/200 vision according to the Snellen eye chart. The Snellen eye chart is the chart that many people are probably familiar with; it’s used in most doctors’ offices as well as the DMV. It is used to test visual acuity and is scored using 20/20 as the reference point of “perfect” vision.
In my case, it was 20/200, which means that I could only see at 20 feet what someone with normal vision could see at 200 feet. So effectively, I had vision that was literally ten times worse than normal people. With nearsighted people like myself, the goal of LASIK is to flatten a cornea that is too-steep; with farsighted people, it is the opposite. In cases of astigmatism, LASIK works by smoothing out an irregular cornea into a more normal shape.

Pre-Operation

Because my eyes are very important me, I decided to go all out on my laser eye surgery. I started by visiting a retina specialist to do a full and thorough exam of my eyes. This is not required, but I wanted to make sure my eyes were healthy and didn’t have any pre-existing conditions that might cause complications during the LASIK procedure. After seeing the retina specialist, it was determined that my eyes were 100% healthy and there was nothing I should be concerned about in terms of general eye health.
I then went to the LASIK specialist to see if I was a candidate for the procedure. During the consultation, they tested things like the thickness of my cornea, the dryness of my eyes, and the overall shape of my eyes. At the end of the consultation, I was told that I was a candidate and that everything was good to go.

Deciding on the Type of Surgery

There are a million different types of LASIK: Bladed LASIK, Bladeless LASIK, Topography-Guided LASIK, and many others. I decided on a procedure called Custom Wavefront LASIK, which means that they first do a full custom 3D scan of your eyes to get a very detailed 3D image of your exact eyeballs, then they develop a custom correction plan based on those scans.
It is much more precise than the standard procedure and it personalized to your eyes. It was also the most expensive option that my doctor offered, which is not usually a good reason to purchase something. In the case of my eyes, however, I wanted the best possible option, even if it cost more money.

The Operation

I arrived at the doctor’s office around 10 a.m.; I remember being extremely nervous about the procedure. The nurse gave me an Ativan to help calm my anxiety, however, the first Ativan wasn’t very helpful, so I was given another about 15 minutes after the first. After another 15 minutes, I was given a third Ativan because my anxiety just wouldn’t subside. Three Ativan later and they were not legally allowed to give me any more, even though the anxiety was still pretty strong. I decided at that point to just push through the fear and get the procedure over with.
Once I got into the operating room, I was asked to lie down and several numbing drops were applied to my eyes. Then, my eyes were held open using a lid speculum (just imagine that scene from A Clockwork Orange) so that I was unable to blink. As my eyes were being held open, a nurse was irrigating them with both numbing drops and some moistening drops to keep them from drying out.
The doctor then used a suction ring on the front of my eye to prevent my eye from moving while he cut the flap. This part was a bit uncomfortable and I remember feeling a huge amount of pressure on my eye, to the point where my vision would go in and out from blurry, to complete darkness, multiple times.
Once the doctor cut the flap open, he then folded it over, exposing the cornea, then let the laser start its work reshaping the cornea. The laser was completely painless, and looked pretty cool; kind of like a blurry laser light show. I could also smell something that was reminiscent of burning hair.
Once the laser was finished, the doctor folded the flap back over the cornea and then used a little tiny squeegee to press the flap back into place. I could actually see this little squeegee as it went across my eyeball like a little window cleaner. I remember kind of laughing about it because I thought it was so ridiculous.
After the first eye was finished, the doctor moved onto the second eye and repeated the process. Each eye took about 5 minutes, so the entire procedure was done in under 15 minutes, including prep and everything. After the procedure, I could tell my eyesight improved immediately. My eyes were still very foggy from all of the drops and numbing liquid that was still in them, but I remember immediately being able to make out details that I would normally need my glasses to see.
The doctor then cleared me to go home, instructing me to avoid using my eyes too much for the rest of the day, to avoid strenuous exercise for at least a week, and to use antibiotic drops 3 times a day to keep my eyes from developing any infection. In all, about a 1 hour and 15 minutes had elapsed from the time of getting to the doctor’s office and getting into my Uber to go home.

Post Operation

After arriving home, I stumbled over to my bed and slept for a few hours. I woke up and noticed some of the fogginess had disappeared and my eyesight was getting clearer. I still wasn’t allowed to use my phone or watch TV, so I just laid in bed with my eyes closed for another few hours until I could go back to sleep.
Three times a day, I would need to put both antibiotic drops and artificial tears in my eyes to keep them from developing an infection or drying out. I was also required to wear eye shields at night to keep from scratching my eyes in my sleep and reopening the flaps.
The day after the operation, I was told to come in to see the doctor for a post-operation evaluation. They checked to make sure the flap was healing okay, that I wasn’t developing any kind of infection, and tested my vision. My vision at this point tested at 20/30; so, already just 24 hours after the procedure, my vision had improved significantly.
As days passed, I could notice my eyesight getting better and better. I started to notice details that I couldn’t even see with my glasses; things like individual leaves on trees, the LEDs in stop lights, and textures of things like walls, carpet, and sidewalks.

Today

It has now been almost two years since my operation and everything has healed up perfectly. Last time I had my vision tested, it was 20/15, which means my eyesight is actually better than what is considered to be perfect vision.
Researchers from the U.S. and Germany recently conducted a study and literature review of 97 peer-reviewed clinical studies of LASIK vision correction that were published between 2008 and 2015. A total of nearly 68,000 LASIK-treated eyes were reviewed and 90.8 percent of people in that study were able to achieve 20/20 or better; luckily I was in that percentile.
Some people report having frequent dry eyes after the procedure, but I have never experienced this. I do, however, experience some slight haloing at night from direct light sources like street lamps or car lights, but these halos are not any worse than what I would see when using my glasses.

Total Cost

Overall, including my visit to the retina specialist, I paid around $6,000 for my new eyes, or about the price of a new flagship camera body. There are certainly ways to get LASIK for much cheaper, either by opting for a less expensive procedure or even traveling to another country where the cost of surgery is significantly lower. But for me, I wanted the best possible results and was willing to pay for it.
My doctor is considered to be one of the best in the world, was on the original FDA study, and is known for doing the operations of celebrities and the ultra-rich. I was very fortunate that my doctor was in the same city as me, but had he not been, I would have traveled somewhere else to have the procedure done by an equally qualified doctor. This, of course, is not necessary, but it really helped put my mind at ease that I was getting the best that I could get.

Would I Recommend It?

It really depends, if you are able to get by using glasses or contacts than it might not make sense for you. However, if you absolutely can’t stand shooting with glasses, or putting contacts in every day. LASIK really can change your life forever, I couldn’t imagine going back to using glasses every day and I am extremely pleased with my results.
If you are someone who is terrified of the possibility of damaging your eyes like I was, you really shouldn’t. The chances of having negative results are extremely low, and in very small chance something does go wrong it is almost always correctable. Keeping that is mind, in my opinion, there is a lot more to gain getting LASIK than there is to lose.
About the author: Carsten Schertzer is a Los Angeles based wedding and engagement photographer. The opinions expressed in this article are solely those of the author. When not photographing weddings he can be found teaching workshops, educating, or traveling. You can view more of his work on his website or follow him on Instagram. This article was also published here.Image credits: Header illustration based oh photo by Victor Freitas

]]>https://petapixel.com/2018/02/16/photographers-review-lasik-ultimate-upgrade/feed/0167655Editor as Director in 360 Video with Final Cut Pro Xhttps://www.provideocoalition.com/editor-director-360-video-final-cut-pro-x/
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This week on MacBreak Studio, Ripple Training’s Steve Martin shows us how the editor can be the director when it comes to working with 360 video in Final Cut Pro X.
360 video gives the audience the opportunity to look in any direction by either dragging in a magic window in a browser or moving their head around when viewing through a phone, tablet, or headset like Google Cardboard or perhaps an HTC Vive. It’s an opportunity, but it also poses a challenge for the filmmaker who usually wants viewers to look in a specific direction.
The viewer is limited a specific section of that 360 sphere by the field of view. The default view is based on how the camera was oriented during filming. Usually the director positions the camera such that the primary action happens in this default view so that when the video starts, the viewer doesn’t have to look around to figure out what to look at.
However, sometimes this initial view is incorrect: perhaps the camera wasn’t oriented properly, or there was a change of action on set. Final Cut Pro X has a tool in its 360 toolset called “Reorient” that makes it very easy to establish a new default orientation simply by dragging on the 360 Viewer window. You also use this tool to correct for tilted horizon lines by dragging in the equirectangular view (I’d recommend enabling the very useful “Show Horizon” feature in the View pop-up menu under Overlays).
Now you can take this reorient concept further by animating the default field of view so that it moves over time. Doing so allows you to manipulate where the viewer looks without them needing to turn their head or drag in a magic window. As Steve shows us, you accomplish this by keyframing the appropriate axes – usually Y to pan left and right, but you may also want to tilt up or down on X.
Check it out above. If you missed it, check out our episode on removing people from 360 videos. If you are planning or already shooting 360 video and editing with Final Cut Pro X, you’ll also want to check out Steve’s new 360 Editing tutorial.
The post Editor as Director in 360 Video with Final Cut Pro X appeared first on ProVideo Coalition.]]>https://www.provideocoalition.com/editor-director-360-video-final-cut-pro-x/feed/0167659Full-Frame Shootout: Sony a7R III vs. Nikon D850 vs. Canon 5D IVhttp://feedproxy.google.com/~r/PetaPixel/~3/Vqco6HxAFh4/
http://feedproxy.google.com/~r/PetaPixel/~3/Vqco6HxAFh4/#respondFri, 16 Feb 2018 16:27:22 +0000http://petapixel.com/?p=303200Continue reading "Full-Frame Shootout: Sony a7R III vs. Nikon D850 vs. Canon 5D IV"]]>

Want to see how popular full-frame cameras from Sony, Nikon, and Canon stack up? Here’s a 20-minute comparison video from Dan and Sally Watson that looks at the differences between the Sony a7R III, Nikon D850, and Canon 5D Mark IV.
The video runs through pretty much all questions you might have about the cameras, covering everything from ISO handling to video.
For usability, the LiveView showing up in the viewfinder of the Sony A7R III is a major plus point for Sally. Dan agrees, pointing out that the Nikon D850 is the weakest when it comes to LiveView usability.

regular autofocus, though, Dan concluded that the Nikon D850 performs the best. It was the only camera that locked focus for every frame of the model running towards the camera.
Here are some images from the Sony a7R III:
Here are some images from the Nikon D850:
Finally, here are the images from the Canon 5D Mark IV:
Overall, the Nikon D850 “probably performed the best,” Dan says. In fact, he recommends it over all of the cameras for anyone shooting action, thanks to its faster frame rate of 9 fps.
But “all of these cameras are absolutely amazing,” says Sally, so you probably won’t go wrong picking any one over the others.

On Monday, we told you about licensing deal between Getty Images and Google that would result in the end of the "View Image" button on Google Image Search. Today, we get to see the fruits of that deal, as Google Images officially removes View Image, forcing users to actually visit the site that hosts an image, rather than going straight to the image file on its servers.
The deal between Getty and Google served to end a legal feud that began in 2016, a lawsuit in which Getty accused Google of "promoting piracy" by linking high-resolution copyrighted images without watermarks.
Getty claimed that Google was creating "accidental pirates" who would find legally licensed images through Google Image Search and, since they weren't required to go to the actual website where these images were hosted (and properly credited with copyright notice), they would simply download the high-res file. Instead of settling this question in court, Getty and Google struck a multi-year licensing deal last week; a deal that should benefit all photographers.
The View Image button is gone, as is the "Search by Image" button. All that's left is Visit, Save, View Saved, and Share.

Today we're launching some changes on Google Images to help connect users and useful websites. This will include removing the View Image button. The Visit button remains, so users can see images in the context of the webpages they're on. pic.twitter.com/n76KUj4ioD

For those asking, yes, these changes came about in part due to our settlement with Getty Images this week. They are designed to strike a balance between serving user needs and publisher concerns, both stakeholders we value.

Ultimately, Google Images is a way for people to discover information in cases where browsing images is a better experience than text. Having a single button that takes people to actionable information about the image is good for users, web publishers and copyright holders.

Now we just have to wait and see what kind of impact this will have on rampant online image theft. Of course, someone who wants to knowingly steal an image won't be deterred by the lack of a direct link, but many of those "accidental pirates" that Getty claims exist should be saved from themselves by this change.]]>http://seriouslyphotography.com/2018/02/google-has-removed-the-view-image-button-from-image-search/feed/0167649Filmmaker Friday Featuring Filmmaker James Kinghttps://www.provideocoalition.com/FilmmakerJamesKing
https://www.provideocoalition.com/FilmmakerJamesKing#respondFri, 16 Feb 2018 16:11:53 +0000https://www.provideocoalition.com/?p=67671Continue reading "Filmmaker Friday Featuring Filmmaker James King"]]> about his work. This is what he said:
What is your role on set?James King: I’m a Cinematographer.
Why did you choose this field?James King: I’m a problem solver.
What inspires you?James King: People. Nature. Work… The opportunity to take part in or learn something different. I love staying outside my comfort zone.

the coolest project you’ve worked on before?James King: I’d have to say the coolest thing has been shooting Stunt Unit on Damien Chazelle’s “First Man”, a feature premiering later next year.
Do you have a piece of essential gear that you don’t leave without?James King: My Light meter. I have a Sekonic incident/spot meter, that I incidentally bought from Filmtools years ago.
What advice would you give to people interested in this industry?James King: Well if a guy from a small town in Alabama can get into the industry, anyone can. When people attempt to show you the statistics otherwise, thank them for sharing their opinion and then get back to work. This is a business about making connections and I think word of mouth is oftentimes more important than a reel. People will recognize a good work ethic. Above all else, I think the number one rule to surviving and flourishing on set is simple: Be Aware. Be mindful of your surroundings; if you can open the door for someone carrying gear inside, do it. If someone has to tell you to get out of the way, then you’re not paying attention.
You walk onto set, what three items do you bring with you?James King: These days my DSLR, Light meter, and iPhone.
What’s in Your Bag (when you go to set)? James King: Light Meter, DSLR, set of 35mm Prime Lenses, contrast filters, Suunto (just in case the iPhone doesn’t have a connection) and of course my laptop for designing floor plans.
What’s the first thing you do on set?James King: I touch base with the regular crew, introducing myself to anyone I don’t know. Those are the guys you have to earn their respect; take care of the crew and they’ll make you look good.
What challenges have you faced in the film industry?James King: Lack of sleep. This is definitely not a nine to five job; I would expect minimum 14 hour days including travel and planning. Even if you keep work hours shorter, there’s always some homework to be done. Secondly, building a team of like-minded people willing to work just as hard as you do.
Do you have a piece of essential gear that you don’t leave without?James King: My Sekonic Light Meter, and a backup incident meter. I always carry a backup to give to the gaffer in case they don’t have one. In the age of digital, sometimes the light meters are accidentally left at home. It’s way easier to pre-light when you can tell someone I’m shooting 800 ASA and I need to be at a 2.8 and they can set the stop without you being there.
Current TV obsession?James King: I’ll be honest, I feel like I’m missing out on the TV craze, I just don’t have enough time to dedicate to a story arc that takes that many episodes. I tend to watch every 4th or 5th episode with my wife and surmise what happened.
Do you binge-watch new shows or pace them out?James King: I feel if I’m going to sacrifice that kind of time I would rather go sit in the theater and take in a movie.
What piece of gear do you have your eye on?James King: I’ve stayed away from buying cameras other than the Super 16 I bought years ago in college. The technology between the cameras and chipsets are so unique I utilize the different cameras like we used to choose film stock. A different flavor for a different dramatic purpose. Factor lenses into that and you have exponential amount of opportunities for different looks.
Camera – Should you own or rent? James King: I’d say rent if you already work, but if your breaking into the industry a camera could be a good negotiating chip.
Lenses – Should you own or rent?James King: Again I think this question is on a per project basis; everything with camera should be informed by the story. Not to say some decisions aren’t made on the producing end as well…
What is your preferred camera system? Lenses?James King: I’ve gotten partial to the Arri Alexa and K35’s, it’s just nasty in the right way.
What are you currently working on?James King: Right now I’m prepping a short film, with the hopes of funding a feature, that centers on a young African American boy’s journey into manhood and his awakening to the underlying racism that permeates his world.
What advice would you give to people interested in this industry?James King: Stay the course, read as much as possible, and get out and film something.
How did you break into this industry?James King: I think we’re all constantly trying to climb to the next level. I’ve shot hundreds of music videos and commercials, but I’m still working on become a mainstay in film. I think a simpler question to answer is how did I break into the music video industry? Well that was a long road; I didn’t take any short cuts and I spent several years as a grip/electric before being a best-boy and gaffing. I think at one point I had been gaffer on 4 or 5 videos that were in the top 10 on MTV and thought “If I can light it, I can shoot it.” I was lucky to come up under very supportive DP’s like Rhet Bear and Pedro Castro that told me to go for it. So I did.
Where can people follow you on social?James King: On Instagram @jameskingversion

The post Filmmaker Friday Featuring Filmmaker James King appeared first on ProVideo Coalition.]]>https://www.provideocoalition.com/FilmmakerJamesKing/feed/0167661Watch: These BTS Videos Will Get You Even More Stoked to See ‘Black Panther’https://nofilmschool.com/2018/02/black-panther-behind-the-scenes-videos-rachel-morrison-ryan-coogler
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Get some insights into how Ryan Coogler’s superhero epic was made.
[SPOILER ALERT: Though this post does not contain major plot points, you may want to wait until after seeing the film to avoid any sneak peeks of sets or scenes.]
It's finally here: opening weekend of co-writer/director Ryan Coogler's hotly anticipated blockbuster Black Panther. The film is so anticipated, in fact, that it has broken the ticket presale record for all superhero movies, beating the previous one set by Batman V Superman: Dawn Of Justice. In the movie, Chadwick plays T'Challa, a prince who returns to his technologically advanced African country to rule as king after his father's death while leading a double life as the superhero Black Panther.
Despite the fact that this is the 18th film in the Marvel Cinematic Universe (which also includes The Avengers and Guardians of the Galaxy), one theme runs across all of these BTS videos: this will not be your typical superhero movie.
Read More]]>http://seriouslyphotography.com/2018/02/watch-these-bts-videos-will-get-you-even-more-stoked-to-see-black-panther/feed/0167687Microsoft adds ‘Ultimate Performance’ mode to latest Windows 10 Pro buildhttps://www.dpreview.com/news/5968857269/microsoft-adds-ultimate-performance-mode-to-latest-windows-10-pro-build
https://www.dpreview.com/news/5968857269/microsoft-adds-ultimate-performance-mode-to-latest-windows-10-pro-build#respondFri, 16 Feb 2018 15:48:00 +0000https://www.dpreview.com/news/5968857269/microsoft-adds-ultimate-performance-mode-to-latest-windows-10-pro-buildContinue reading "Microsoft adds ‘Ultimate Performance’ mode to latest Windows 10 Pro build"]]>

Microsoft has introduced a new "Ultimate Performance" power scheme in its latest Windows 10 preview build. The new mode will be available to Windows 10 Pro for Workstations, a high-end version of Windows 10 that Microsoft introduced back in August. The company explains that Ultimate Performance is a way to "provide the absolute maximum performance" on these workstations for users who need as much power as possible.
Ultimate Performance mode builds upon the existing High-Performance option, working to eliminate micro-latencies, says Microsoft, that are "associated with fine grained power management techniques." Ultimately, the new mode is designed for reducing

micro-latencies and it may result in increased power consumption; as such, Microsoft hasn't made this mode available on system powered by batteries (like laptops).

For creatives who need to squeeze the most power possible out of their Windows machine as they edit 8K footage in Premiere Pro or cull and edit thousands of photos in the speedier new build of Lightroom Classic, the new mode could potentially give you a performance boost in exchange for higher power consumption.
Both OEMs and users can enable Ultimate Performance via Control Panel > Power Options > Hardware and Sound. The feature is only available to Windows Insiders running Windows 10 Pro for Workstations via Preview Builds 17079 or greater, for now.]]>http://seriouslyphotography.com/2018/02/microsoft-adds-ultimate-performance-mode-to-latest-windows-10-pro-build/feed/0167651Zeiss Adds Loxia 25mm Wide-Angle for Sony E-mount Camerashttps://nofilmschool.com/2018/02/zeiss-adds-loxia-25mm-wide-angle-sony-e-mount-cameras
https://nofilmschool.com/2018/02/zeiss-adds-loxia-25mm-wide-angle-sony-e-mount-cameras#respondFri, 16 Feb 2018 15:28:14 +0000http://seriouslyphotography.com/?guid=e118cd282950d94d8dc746b559b5e7ecContinue reading "Zeiss Adds Loxia 25mm Wide-Angle for Sony E-mount Cameras"]]>
The Loxia f/2.4 25mm compact wide-angle lens is the fifth in the series.
The Zeiss Loxia lenses are designed for mirrorless cameras in the Sony Alpha series and feature full frame coverage in a small footprint. The Loxia f/2.4 25mm is the latest addition, making it the fifth alongside 21, 35, 50 and 85mm focal lengths. Because of its E-mount, Sony FS7/FS5 users can benefit from its optical quality or any sensor up to the 35mm format (36 x 24mm).
The optics (10 lens in eight groups) feature the Zeiss Distagon design for end-to-end sharpness across the entire image field of the sensor. It includes two anomalous partial dispersion elements and a single aspherical lens to reduce chromatic and spherical aberrations. T* anti-reflective coating has been added to all the elements to minimize ghosting and unwanted lens flare.
Read More]]>http://seriouslyphotography.com/2018/02/zeiss-adds-loxia-25mm-wide-angle-for-sony-e-mount-cameras/feed/0167633Judge rules that embedding a photo tweet is still copyright infringementhttps://www.dpreview.com/news/1925670628/judge-rules-that-embedding-a-photo-tweet-is-copyright-infringement
https://www.dpreview.com/news/1925670628/judge-rules-that-embedding-a-photo-tweet-is-copyright-infringement#respondFri, 16 Feb 2018 15:27:00 +0000https://www.dpreview.com/news/1925670628/judge-rules-that-embedding-a-photo-tweet-is-copyright-infringementContinue reading "Judge rules that embedding a photo tweet is still copyright infringement"]]>

In a court case that could fundamentally change what constitutes copyright infringement online, a New York district judge has ruled that embedding a tweet that contains a copyright protected photo does, in fact, constitute a copyright violation. If the ruling is upheld, its impact across the internet is hard to understate.
The case involves a photographer, Justin Goldman, who sued several major publications including Time, Vox, Breitbart, and others, when they embedded someone else's tweet of his copyright-protected photo of NFL star Tom Brady. Judge Katherine B. Forrest is ruling in favor of Goldman, writing:

...when defendants caused the embedded to appear on their websites, their actions violated plaintiff’s exclusive display right; the fact that the image was hosted on a server owned and operated by an unrelated third party (Twitter) does not shield them from this result.

Have you ever embedded someone else's tweet on your website? A judge just said that you could be liable for copyright infringement. https://t.co/Lgw3rTI55O

As the Electronic Frontier Foundation (EFF) points out, this ruling rejects a decade-old legal precedent set by the Ninth Circuit Court in a 2007 ruling called "Perfect 10 v. Amazon." That case ruled that the company hosting the content—Twitter, Facebook, YouTube, etc.—was liable, and absolved the company or publication or person who actually embeds the content. This, in essence, is how the internet has worked ever since.
Some sites, like YouTube, give creators the option to limit embedding so that only sites they specify (or nobody at all) can embed the content on their own platform, but others like Instagram and Twitter offer no such control. If your account is public, and you share a copyright-protected photo on it that goes viral, you can expect it to crop up on any number of outside websites, publications, and blogs with nary a permission request.
Of course, if it's your own share, you could always take down the original Tweet or Instagram post or shift your account to private, breaking all of those embeds all at once. You (or the original poster) could also change what the post says or even swap out the file that shows up under that embed. But irrespective of those things, up until now, you had no legal case against the people or publications embedding your photo, since they have no control over what the hosting server will provide with that embed code—this is called the "server" test.

According to this ruling, embedding the DPReview tweet above without permission from the original creator of the GIF constitutes copyright infringement.
The server test is what Judge Forrest ultimately rejected, and if the ruling is upheld, it could apply to more than just embedding a tweet. As the EFF explains, the wording is broad enough that "the logic of the ruling applies to all in-line linking," which could "threaten millions of ordinary Internet users with infringement liability."
Appeals will no doubt be filed, and a closer look at the ruling and the standard practice of embedding on the internet may very well lead to its being overturned. But if it's not, expect it to be open season for social media copyright infringement cases.
If you'd like to dive deeper, you can read the full ruling for yourself at this link.]]>http://seriouslyphotography.com/2018/02/judge-rules-that-embedding-a-photo-tweet-is-still-copyright-infringement/feed/0167653This Week in Photography Books: Nina Bermanhttp://aphotoeditor.com/2018/02/16/this-week-in-photography-books-nina-berman/
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to therapy herself, but when things are really bad, I can see the stress energy wafting off her skin like the heat waves that rise from my old wood stove.
Frankly, it’s rare that we find ourselves inside someone else’s nightmare. Sure, some people like to get scared, and pay to watch a creepy movie.
But that’s fiction.
Occasionally, we find ourselves privy to someone else’s darkest secrets. Occasionally, we choose not to look away. (Even when it’s the stuff of pure darkness.)
In my six and half years writing this column, I’ve often shared that my favorite photobooks are experiential. They carefully consider how to unspool the thread of their narrative; how to engage an audience by divulging details in just the right way.
I love books that show me things I haven’t seen before, and give me insights I couldn’t otherwise access.
I’ve also admitted to being something of an Anglophile, as I’m addicted to English football, and wrote stories on this very blog about my remarkably joyous trips to London in 2012 and ’13.
It’s easy to idealize a place when you only see its slick surface. People do that with Taos all the time. They come here thinking it’s a quaint, little tourist mecca, with hip art galleries and magnificent nature.
But as I’ve said before, it’s the most hard-core place I’ve ever lived, and I did a three year stint in Brooklyn.
There are plenty entertainment options that glamorize English gangsters, like the stylish “Peaky Blinders,” the several movies about the Krays, or (insert random Guy Richie movie here.)
But I just put down a photo book that made my head spin, in a good way, though its contents are shockingly awful. (The kind of awful that enlightens, not the kind that comes from poor execution.)
“An autobiography of Miss Wish” is a new book by Nina Berman, in conjunction with Kimberly Stevens, which was published in the fall by Kehrer Verlag in Germany. It’s generated a fair amount of positive press, and I feel fortunate to have been sent a copy a few months ago, when I was actively soliciting submissions from female artists.
(By the way, the first round of outreach was successful, but I’m down to my last two books by female photographers, so hopefully you guys can help spread the word to get a new batch of submissions for us.)
Kimberly Stevens is the latest name adopted by an Englishwoman who’s had as difficult a life as I’ve ever encountered. This book shares the kind of stories my wife keeps to herself. It’s hard to read what is presented here; to look at Nina Berman’s photographs, and Kimberly’s drawings and diary entries.
The shortest version is that Ms. Stevens was adopted at two into a family of violent, murderous, child-purchasing, sex traffickers. She was raped, tortured, and prostituted for her entire childhood. Even worse, the gang that ran her continued to kidnap her anytime anyone stepped in to help.
Lest you think I’m exaggerating, I’ll photograph the drawing she made of a dismemberment, part of a series of flashbacks that were symptoms of extreme mental illness brought on by Post-Traumatic Stress Disorder.
In what can only be described as a coincidence, or an act of God, Nina Berman bumped into Kimberly in the early 90s in London, when she was still going by the name of Cathy Wish. She photographed her roaming the city, and they struck a friendship.
As Kimberly’s captors were so well-connected that the police couldn’t protect her, an officer from Scotland Yard suggested she escape to America, and even gave her the money to buy a ticket.
So she came to the United States, (the exact type of immigrant our current president despises,) and made a life for herself on the streets, in the shelters, jails and mental institutions of New York City.
Throughout, Kimberly has suffered from multiple personality disorder, suicidal tendencies, drug addiction, HIV, and dissociative fugue states.
(Like I said, this gives hard-core a new definition.)
The book, which is remarkably well done, shares the story with us in a variety of ways. From medical reports to text messages, consistently interspersed with Ms. Berman’s documentary images, we’re given access to Kimberly Stevens’ life story.
Throughout her time in our country, Nina Berman proved to be her support system.
Her family.
Her rock.
I interviewed Nina Berman for this blog many years ago. She struck me as an extreme personality. You have to be, to somehow believe Kimberly Stevens could carve out a life worth living. That she wouldn’t be better off just jumping off a bridge, or out a window, both of which she tried to do.
Instead, they made this book as a testament to the indomitable spirit of the ultimate survivor.
As far as I’m concerned, photobooks don’t get much better than this.
Bottom line: A collaborative masterpiece
To purchase “An autobiography of Miss Wish,” click here
If you’d like to submit a book for potential review, please email me at jonathanblaustein@gmail.com
------------------------
Visit our sponsor Photo Folio, providing websites to professional photographers for over 9 years. Featuring the only customizable template in the world.
------------------------]]>http://aphotoeditor.com/2018/02/16/this-week-in-photography-books-nina-berman/feed/0167642This Week in Photography Books: Nina Bermanhttp://aphotoeditor.com/2018/02/16/this-week-in-photography-books-nina-berman/
http://aphotoeditor.com/2018/02/16/this-week-in-photography-books-nina-berman/#respondFri, 16 Feb 2018 15:25:24 +0000http://aphotoeditor.com/?p=43159Continue reading "This Week in Photography Books: Nina Berman"]]>

to therapy herself, but when things are really bad, I can see the stress energy wafting off her skin like the heat waves that rise from my old wood stove.
Frankly, it’s rare that we find ourselves inside someone else’s nightmare. Sure, some people like to get scared, and pay to watch a creepy movie.
But that’s fiction.
Occasionally, we find ourselves privy to someone else’s darkest secrets. Occasionally, we choose not to look away. (Even when it’s the stuff of pure darkness.)
In my six and half years writing this column, I’ve often shared that my favorite photobooks are experiential. They carefully consider how to unspool the thread of their narrative; how to engage an audience by divulging details in just the right way.
I love books that show me things I haven’t seen before, and give me insights I couldn’t otherwise access.
I’ve also admitted to being something of an Anglophile, as I’m addicted to English football, and wrote stories on this very blog about my remarkably joyous trips to London in 2012 and ’13.
It’s easy to idealize a place when you only see its slick surface. People do that with Taos all the time. They come here thinking it’s a quaint, little tourist mecca, with hip art galleries and magnificent nature.
But as I’ve said before, it’s the most hard-core place I’ve ever lived, and I did a three year stint in Brooklyn.
There are plenty entertainment options that glamorize English gangsters, like the stylish “Peaky Blinders,” the several movies about the Krays, or (insert random Guy Richie movie here.)
But I just put down a photo book that made my head spin, in a good way, though its contents are shockingly awful. (The kind of awful that enlightens, not the kind that comes from poor execution.)
“An autobiography of Miss Wish” is a new book by Nina Berman, in conjunction with Kimberly Stevens, which was published in the fall by Kehrer Verlag in Germany. It’s generated a fair amount of positive press, and I feel fortunate to have been sent a copy a few months ago, when I was actively soliciting submissions from female artists.
(By the way, the first round of outreach was successful, but I’m down to my last two books by female photographers, so hopefully you guys can help spread the word to get a new batch of submissions for us.)
Kimberly Stevens is the latest name adopted by an Englishwoman who’s had as difficult a life as I’ve ever encountered. This book shares the kind of stories my wife keeps to herself. It’s hard to read what is presented here; to look at Nina Berman’s photographs, and Kimberly’s drawings and diary entries.
The shortest version is that Ms. Stevens was adopted at two into a family of violent, murderous, child-purchasing, sex traffickers. She was raped, tortured, and prostituted for her entire childhood. Even worse, the gang that ran her continued to kidnap her anytime anyone stepped in to help.
Lest you think I’m exaggerating, I’ll photograph the drawing she made of a dismemberment, part of a series of flashbacks that were symptoms of extreme mental illness brought on by Post-Traumatic Stress Disorder.
In what can only be described as a coincidence, or an act of God, Nina Berman bumped into Kimberly in the early 90s in London, when she was still going by the name of Cathy Wish. She photographed her roaming the city, and they struck a friendship.
As Kimberly’s captors were so well-connected that the police couldn’t protect her, an officer from Scotland Yard suggested she escape to America, and even gave her the money to buy a ticket.
So she came to the United States, (the exact type of immigrant our current president despises,) and made a life for herself on the streets, in the shelters, jails and mental institutions of New York City.
Throughout, Kimberly has suffered from multiple personality disorder, suicidal tendencies, drug addiction, HIV, and dissociative fugue states.
(Like I said, this gives hard-core a new definition.)
The book, which is remarkably well done, shares the story with us in a variety of ways. From medical reports to text messages, consistently interspersed with Ms. Berman’s documentary images, we’re given access to Kimberly Stevens’ life story.
Throughout her time in our country, Nina Berman proved to be her support system.
Her family.
Her rock.
I interviewed Nina Berman for this blog many years ago. She struck me as an extreme personality. You have to be, to somehow believe Kimberly Stevens could carve out a life worth living. That she wouldn’t be better off just jumping off a bridge, or out a window, both of which she tried to do.
Instead, they made this book as a testament to the indomitable spirit of the ultimate survivor.
As far as I’m concerned, photobooks don’t get much better than this.
Bottom line: A collaborative masterpiece
To purchase “An autobiography of Miss Wish,” click here
If you’d like to submit a book for potential review, please email me at jonathanblaustein@gmail.com
------------------------
Visit our sponsor Photo Folio, providing websites to professional photographers for over 9 years. Featuring the only customizable template in the world.
------------------------]]>http://aphotoeditor.com/2018/02/16/this-week-in-photography-books-nina-berman/feed/01676415 Tips For Shooting Your Project On A Prayerhttps://nofilmschool.com/2018/02/5-tips-shooting-your-project-prayer
https://nofilmschool.com/2018/02/5-tips-shooting-your-project-prayer#respondFri, 16 Feb 2018 15:09:03 +0000http://seriouslyphotography.com/?guid=afe45a94ddd06017387adf9dfea10084Continue reading "5 Tips For Shooting Your Project On A Prayer"]]>
Unsure of how to get your no-budget project off the ground? Look at the resources around you.
Eureka, you’ve got it! After months of jogging that idea around in your head, tossing it against the walls of your brain, you've finally settled on something that feels right. Be it a character, a plot point, or a fully fleshed out storyline, you find yourself ready to create something.
The realization then hits: the more you look into the idea, the harder it becomes to fathom getting it done. You have to factor camera costs, crew costs, food, location expenses, not to mention insurance! How will you ever get your project off the ground? After months of writing Brian, a small web series about a Brooklyn-based comedian fresh to the dating scene (check out the first episode below), I was in the same boat. The thought of the project's impossibility crept into my head. Ultimately, I made the journey through and realized serval important points while shooting my project on a prayer.
Read More]]>http://seriouslyphotography.com/2018/02/5-tips-for-shooting-your-project-on-a-prayer/feed/0167635Field Test: Ronin 2 is a High-End Gimbal That is Surprisingly Easy to Usehttps://nofilmschool.com/2018/2/dji-ronin-2-field-test
https://nofilmschool.com/2018/2/dji-ronin-2-field-test#respondFri, 16 Feb 2018 15:00:00 +0000http://seriouslyphotography.com/?guid=cc4a56207c7fb9f4ca18cdc415f0b7c1Continue reading "Field Test: Ronin 2 is a High-End Gimbal That is Surprisingly Easy to Use"]]>
DJI is back with a major revision to its popular Ronin gimbal with the heavily upgraded—and more expensive—Ronin 2.
DJI is a world crusher in drones, but the company has long felt like the "second brand" of gimbals, with FreeFly systems and its MoVi being at the top of the pecking order. While the Ronin has the biggest rental base on indie platforms like ShareGrid, MoVi has the biggest penetration into high-end production. With the Ronin 2, announced last April and shipping as of a few weeks ago, DJI is clearly pushing hard to get the same dominant position in ground stabilization they have in the sky. The massive team of engineers, product designers, and market researchers behind this product clearly emphasizes that point.
Read More]]>http://seriouslyphotography.com/2018/02/field-test-ronin-2-is-a-high-end-gimbal-that-is-surprisingly-easy-to-use/feed/0167637Helicopter Crash Allegedly Caused by Dronehttps://fstoppers.com/drone/helicopter-crash-allegedly-caused-drone-222772?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/drone/helicopter-crash-allegedly-caused-drone-222772?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondFri, 16 Feb 2018 14:54:00 +0000https://fstoppers.com/p/222772
The FAA is investigating a helicopter crash in Charleston, South Carolina in which the pilot alleges that evasive maneuvers to avoid a drone caused the accident.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/helicopter-crash-allegedly-caused-by-drone/feed/0167639Microsoft Photos Companion app offers easy photo transfer from smartphones to PChttps://www.dpreview.com/news/1423461529/microsoft-photos-companion-app-offers-easy-photo-transfer-from-smartphones-to-pc
https://www.dpreview.com/news/1423461529/microsoft-photos-companion-app-offers-easy-photo-transfer-from-smartphones-to-pc#respondFri, 16 Feb 2018 14:35:00 +0000https://www.dpreview.com/news/1423461529/microsoft-photos-companion-app-offers-easy-photo-transfer-from-smartphones-to-pcContinue reading "Microsoft Photos Companion app offers easy photo transfer from smartphones to PC"]]>

Microsoft has launched a new app to facilitate easy photo transfer from mobile devices to a Windows 10 PC, without using the cloud. Photos Companion is available for iOS and Android and deposits your mobile images in the Windows Photos app on the desktop or laptop PC using just a WiFi network.
To get started, you have to scan a QR code in the Windows Photos desktop app to pair smartphone and computer. Both devices have to be connected to the same WiFi network, which in turn allows you to send individual images or entire batches across very quickly. It

in essence, the exact same system as Apple's AirDrop, but limited to photos and videos.

Pairing isn't permanent, and will have to be re-established for each sharing operation. Still, that's easily done and the app looks like an interesting solution for collecting media files from multiple mobile devices on a single PC for working on collaborative projects.
Once on the PC, images and videos can be shared and edited in the Windows Photo app as usual. If Photos Companion sounds like an app that could potentially improve your workflow, you can find more information and app store links on the Microsoft website.]]>http://seriouslyphotography.com/2018/02/microsoft-photos-companion-app-offers-easy-photo-transfer-from-smartphones-to-pc/feed/01676298ball, a “holographic” audio experience for cinematic VRhttps://www.provideocoalition.com/8ball-holographic-audio-experience-cinematic-vr/
https://www.provideocoalition.com/8ball-holographic-audio-experience-cinematic-vr/#respondFri, 16 Feb 2018 14:15:06 +0000https://www.provideocoalition.com/?p=67894Continue reading "8ball, a “holographic” audio experience for cinematic VR"]]>
HEAR360’s 8ball is a patented omni-binaural microphone and software suite, designed to offer true spatial audio that immediately immerses listeners, creating the illusion they’re actually there.
According to HEAR360, up until now, VR creators had to record immersive audio with microphones that were separate from software workflows, creating overcomplicated post-production processes, and often discouraging creators from fully leveraging immersive audio in their productions. ProVideo Coalition mentioned, back in November 2016, that HEAR360 had opened its Beta Program, inviting cinematic VR filmmakers to try the power of spatial audio offered by the 8ball omni-binaural microphone.
The promise, then, was simple,

if ambitious: the easy delivery of a gripping spatial audio experience to their audience. Apparently, everything wen has planned, and the 8-ball, a full end-to-end spatial audio solution for cinematic VR and 360 video, is now available for purchase online.
“We are thrilled to bring a full end-to-end spatial audio solution to market,” says Matt Marrin, CEO of HEAR360.
8ball empowers creators to capture spatial audio in omni-binaural formats, and seamlessly integrates their recordings with post-production workflows using a suite of plugins available to purchasers of the microphone.
“The first test audio I heard blew me away with accuracy and sound quality,” says Matt Celia of Lightsail VR.
8ball is omni-binaural, meaning it captures 360° of audio by utilizing four pairs of high-quality omnidirectional capsules. Custom microphone “ears” are positioned strategically to mimic a human’s perception of audio. The brain decodes 8ball’s recordings, as headphone listeners perceive sound 360° around their head.
When played back through head-mounted displays, 8ball offers a “holographic” audio experience that promises to be nearly indistinguishable from the real world.
“To ensure 8ball would be the best solution for the VR/360 Video community, we engaged creators during the development process,” says Greg Morgenstein, Chief Technical Officer at HEAR360, “by the time our beta program ended, 8ball had been used in productions all over the world, including international sporting events, commercial productions for major brands, cinematic VR movies, and concert recordings for multi-platinum acts”.
When paired with Live 360 broadcast workflows (slated for release in late 2018), 8ball’s live workflow will enable broadcasters to deliver live, real-time spatial audio experiences with pinpoint accuracy, and head trackability. Early applications successfully paired live spatial audio with a 4k video streams, allowing content producers to transport their viewers to the sights and sounds unfolding in real time.
HEAR360 has demos available at http://www.hear360.io in a custom web player that works on major web browsers and Android mobile devices. 8ball, the omni-binaural microphone and software suite, is now available for purchase online at http://www.hear360.io.
The post 8ball, a “holographic” audio experience for cinematic VR appeared first on ProVideo Coalition.]]>https://www.provideocoalition.com/8ball-holographic-audio-experience-cinematic-vr/feed/0167625Fujifilm X-H1: What you need to knowhttps://www.dpreview.com/articles/1547508936/fujifilm-x-h1-what-you-need-to-know
https://www.dpreview.com/articles/1547508936/fujifilm-x-h1-what-you-need-to-know#respondFri, 16 Feb 2018 14:00:00 +0000https://www.dpreview.com/articles/1547508936/fujifilm-x-h1-what-you-need-to-knowContinue reading "Fujifilm X-H1: What you need to know"]]>Introduction

The Fujifilm X-H1 arrived in the last few hours of February 14th, at least out here on the West Coast in the US, making it a Valentine's gift that came in just under the wire for the Fujifilm faithful. It's deserving of a big red bow with a range-topping APS-C 24MP X-Trans sensor, sitting above the X-T2. It builds on many of the X-T2's features by adding in-body image stabilization, a touchscreen and enhanced video options. Here's a detailed look at everything that's new and improved.

Image Quality

Given the camera's pedigree and the initial results we've seen, the

looks highly capable of great image quality. The sensor, shared with the X-T2, has already shown itself to have performance comparable with the best of its APS-C peers, both in terms of dynamic range and noise performance at high ISO settings.
Throw in Fujifilm's excellent film simulation modes (plus a bonus new one!), and you've got a mighty tempting camera for stills shooters. However, the camera's unique X-Trans color filter pattern is worth taking into account – your results will vary greatly depending on your Raw conversion software.
Further enticing stills photographers is the X-H1's healthy 14 fps burst rate with electronic shutter and 8 fps with mechanical shutter (which can be boosted to 11 with an optional grip). Buffer depth looks reasonably good too, allowing for 40 JPEG shots or 23 uncompressed Raws (27 compressed). Fujifilm also promises autofocus improvement, with better performance in low light and at smaller apertures. All excellent news.

Image Stabilization

Despite Fujifilm previously suggesting that it couldn't be done, the X-H1 offers in-body stabilization rated up to 5 stops. Unusually, Fujifilm says the system works better with non-IS lenses because they project a larger image circle and tend to be neither too long nor too wide, both of which are harder to stabilize. With such a lens, up to 5.5 stops of stabilization can be achieved.

Viewfinder and rear LCD

Comparing to the X-T2, the X-H1 gets a higher resolution viewfinder: a 3.69 million dot OLED panel with 0.75x magnification to the X-T2's 2.36 million dots and 0.77x magnification. Like the X-T2, the X-H1 provides a 3" 1.04 million dot rear LCD that tilts upwards and downwards, but of course, adds touch sensitivity where the X-T2 has none.
The X-H1, like the X-T2, also comes with a 'Boost' mode that increases the viewfinder refresh rate from 60Hz to 100Hz for a smoother look.

Touchscreen

The X-H1's touchscreen is all-around nice to have, allowing you to place a focus point with a tap, tap and acquire focus, or acquire focus and shoot all with one touch. It's also usable as a touchpad with the camera to your eye. That said, we have a word of caution – in our initial use of the touchscreen both setting focus points and touchpad operation, the screen has felt noticeably laggy.
The LCD also provides touch control of the camera's Q.Menu, and in playback mode offers quick access to 100% image viewing, along with gesture-controlled swiping and scrolling. As in the X-E3, a swipe across the shooting screen acts as a Fn button shortcut.

Video specs

The latest generation of flagship mirrorless cameras take video very seriously, and Fujifilm has definitely gotten the memo. The X-H1 offers DCI 4K in 23.98p and 24p, as well as UHD 4K in 23.98/24/25/29.97p. Where the X-T2 requires an external recorder to use flat Log capture, the X-H1 allows for internal F-Log recording. The camera offers bitrates of up to 200 Mbps and 24-bit audio (vs 16-bit on the X-T2).
Plenty of other goodies are on offer for videographers, like a new Eterna/Cinema film simulation mode, slow motion 1080p capture, and the ability to record full HD internally while outputting 4K over HDMI. Autofocus in movie mode is still a bit of a question mark, but rest assured we'll be putting it to the test in short order.

Video interface and usability

In a further nod to the X-H1's cinematic leanings, Fujifilm's included specific shutter speed options in video mode that directly correspond to 90, 180 and 360 degree shutter angles on more dedicated video cameras. In other words, instead of being stuck with shutter speeds of 1/25 sec, 1/50 sec or 1/100 sec for shooting 24p video, you can choose 1/24 sec, 1/48 sec, 1/96 sec, and so on.
Touchscreen benefits aren't limited to stills applications either – Fujifilm put a lot of thought into adding touch control for video shooters. Movie Silent Control disables the aperture ring, shutter speed dial and ISO dial, shifting those settings to touch control. This makes it easy to leave settings dialed in for stills, and then jump quickly to video shooting with separate settings. It's a great feature to have if you're, say, shooting stills and video at the same time at a wedding reception, but our initial impression is that the interface itself feels a bit fiddly.
It's worth noting that the newly announced X-mount versions of Fujifilm's MK cinema lenses will work beautifully on the X-H1, as you can see your aperture as T-stops rather than F-stops.
Unfortunately, despite all the strides Fujfilm's made for video users, there's a notable lack of exposure aids of any kind – you don't even get zebra warnings, much less waveforms.

Who's it for?

It's not totally clear-cut who this camera is for. High-end stills shooters who want an X-T2 with stabilization may feel that their ship has finally arrived. But with so much emphasis on video features, is this a camera that's better suited for photographers who need to shoot video along with their stills?
We think it's a camera for both parties. Like the Sony a6500, it acts as a step-up model even if you aren't planning on shooting video (a step-up model that happens to be VERY capable in the video department). So if you're a stills shooter who buys one, do us a favor and give the movie mode a try – it looks pretty darn good so far.]]>http://seriouslyphotography.com/2018/02/fujifilm-x-h1-what-you-need-to-know/feed/0167631Enlightening Photography: An Interview with Joey Terrillhttps://blog.photoshelter.com/2018/02/enlightening-photography-interview-joey-terrill/
https://blog.photoshelter.com/2018/02/enlightening-photography-interview-joey-terrill/#respondFri, 16 Feb 2018 13:08:46 +0000https://blog.photoshelter.com/?p=47441Continue reading "Enlightening Photography: An Interview with Joey Terrill"]]>Enlightening Photography: An Interview with Joey Terrill appeared first on PhotoShelter Blog.]]>https://blog.photoshelter.com/2018/02/enlightening-photography-interview-joey-terrill/feed/0167621Why I Don’t Like to Shoot Weddings Alonehttps://fstoppers.com/originals/why-i-dont-shoot-weddings-alone-222747?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/originals/why-i-dont-shoot-weddings-alone-222747?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondFri, 16 Feb 2018 13:04:00 +0000https://fstoppers.com/p/222747
There's much to be said about enriching the photography industry through positive and honest collaborations between professionals, but one thing I think we don't talk about enough is the benefits of shooting weddings with a trusted second shooter and how it can benefit your business and even your wellbeing.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/why-i-dont-like-to-shoot-weddings-alone/feed/0167753Day 16 #28daysofQuickTips 2018 – 3 reader Adobe Premiere Pro QuickTipshttps://www.provideocoalition.com/day-16-28daysofquicktips-2018-3-reader-adobe-premiere-pro-quicktips/
https://www.provideocoalition.com/day-16-28daysofquicktips-2018-3-reader-adobe-premiere-pro-quicktips/#respondFri, 16 Feb 2018 13:00:48 +0000https://www.provideocoalition.com/?p=67773Continue reading "Day 16 #28daysofQuickTips 2018 – 3 reader Adobe Premiere Pro QuickTips"]]>And here we go…

Did you know that you can copy, move, and rename assets in your Adobe Libraries?

Just right click on one or multiple assets and the three functions can be seen.

Editor’s Note: I don’t use Adobe Libraries very often but I know a few editors working in

where they have to distribute elements between print, outdoor and video advertising campaigns that swear by them. I think the Library has somewhat limited functionality in Premiere Pro compared to Photoshop so maybe Adobe will continue to update it in the future.

Modify Audio Channels in PPro from Steve Tarlton

One trick I use all the time in Adobe Premiere is Modify Audio Channels.
So much of the time we are recording multichannel audio either into an external recorder or our camera. Most times that audio comes into Adobe Premiere with one audio source in the left channel and one in the right. I’ve seen people duplicate their audio in the timeline and then use the Fill Left and Fill Right audio effects to get mono audio from those files, but of course one of those audio clips won’t be connected to the video. In order to make those both mono channels, I’ll select my clips in the project window, Right Click and select Modify and then Audio Channels.
In the Audio Channels window, I’ll change the Clip Channel Format from Stereo to Mono. The I’ll change the Number of Audio Clips from 1 to 2. Usually that’s all you need to do. Once you click OK and then drag your footage to your timeline, you have a clip with dual mono audio.
Editor’s Note: If you have the default PPro keyboard shortcut setup you can just hit SHIFT+G and get direct access to the Modify Clip > Audio Channels.

Highlight the Effects panel’s Find Box from Taran Van Hemert

Editor’s Note: This last QuickTip comes from Taran Van Hemert who once did an epic 4 hour Premiere Pro editing video. Yep, 4 hours. Thankfully that one is broken down into sections. Well Taran really likes to make videos as he recorded and posted a quick 13:42 screencast video for his tip. Take it away Taran:
Highlight the Effects panel’s Find Box – with 1 keypress. All you have to do is combine two other Premiere keyboard shortcuts into one macro:

Application > window > Effects

select Find Box

It can easily be done with AutoHotkey, or with any built-in keyboard macro software.

Also, I made a video showing exactly how to do it:

If you already know how to make macros, you’ll know what to do within the first 2 minutes. Otherwise, you can keep watching for the complete explanation.

I also talk about how the macro can be easily expanded, so that you can also instantly have stuff written in to the Find Box.

Have your own editing and post-production related QuickTip for #28daysofQuickTips 2018 that you’d like to share? Know a killer Adobe Premiere Pro, Final Cut Pro X, Avid Media Composer or DaVinci Resolve tip that no one else knows? Want to possibly win a prize? Then click over to the post announcing this year’s #28daysofQuickTips and find out how you can send in your own QuickTip.

The Panasonic Lumix DC-ZS200 is a powerful, pocketable travel zoom compact camera, with an impressively long lens. We've had our hands on one – click through for a closer look.

20MP 1"-type sensor

The ZS200 is built around the same 1" 20MP BSI-CMOS sensor as its predecessor the ZS100, which immediately makes it a cut above traditional superzooms that sacrificed (among other thing) sensor size for lens reach.

15X optical zoom lens

The ZS200 scores over its predecessor in a few ways, but the most obvious upgrade is to the lens. While the ZS100's

range of 25-250mm was pretty good, the ZS200 turns things up to 11, spanning a much wider range, of 24-360mm (equiv).
Comprising 13 elements in six groups, this complex lens contains three extra low-dispersion elements and five aspherical, plus one that's both extra low-disperson and aspherical. That's pretty impressive for such a small camera.
Also updated compared to the ZS100 is minimum focus, which has been reduced to 3cm from 5cm (at 24mm equiv). Distortion at such a close distance (and at such a wide focal length) will be pretty wild, but for flowers, bugs and other organic subjects, it should be fine.

15X optical zoom lens

The extra zoom range doesn't come free though, and at F3.3-6.4, the ZS200's lens is slightly slower across its focal length span than its predecessor (shown above, on the left). The longer lens contributes to a slightly greater bodyweight, too. The ZS200 weighs 340g with a card and battery installed, compared to 310g for the ZS100.
This side-by-side shot shows off our ZS200's 'gunmetal' finish. Not quite gray, not quite silver, we think it looks rather nice. Good old black will still be an option when the camera ships next month.

4K video

The ZS200 offers 4K video recording at 30p and 24p. Familiar 4K Photo features like Post Focus are available, in addition to a couple of new modes which were also introduced into the DC-GX9.
Auto Marking analyzes a 4K video clip and automatically marks points at which it detects action, and Sequence Composition (illustrated above in a Panasonic-supplied example shot with the DC-GX9) is a 4K Photo feature that allows you to composite multiple frames of a moving subject in front of a static background into a single 4K-resolution still image.

2.3 million-dot EVF

Here at DPReview we love a good EVF, especially in pocketable travel cameras, where it can really make a difference to handling in bright light. The good news is that the ZS200's EVF is improved quite a bit over its predecessor. Resolution has been upped to 2.3 million dots, and magnification has been increased from 0.45X to 0.53X (equiv).
The bad news is that the viewfinder is still field-sequential, so the rainbow effect is alive and well, and shooting with a 0.53X magnification finder is still a bit like watching a television from the end of a hallway. As such, while the ZS200's EVF is much nicer than its predecessor's, it's not a match for the OLED finders in some competitors, such as Sony's RX100-series.

1.24 million-dot touchscreen

Keeping the ZS200's electronic viewfinder company is a fixed 3" rear LCD, which boasts 1.24 million dots and touch-sensitivity. As such, placing your desired AF point is as easy as simply tapping the screen.
We're also pleased to see that Panasonic has included its 'Touch Pad AF' feature to the ZS200. In essence, this is exactly what it sounds like – with your eye to the viewfinder, the ZS200's rear LCD can be used as a touch-pad to position the AF point. Pretty neat. And as you can see, despite the touchscreen, the ZS200 still has enough direct-access buttons to satisfy someone used to more traditional user interfaces (or someone wearing gloves).

Depth-from-Defocus (DFD) Autofocus

The ZS200 features a version of Panasonic's Depth-from-Defocus autofocus technology. In very simple terms, DFD uses known blur characteristics of Panasonic lenses to work out whether a subject is front or back focused, before driving the focusing group to achieve focus. This reduces the characteristic focus 'hunting' of a typical contrast-detection AF system, by increasing the processor's confidence that it's moving things in the right direction.
While we haven't had the chance to properly test the ZS200 (or use it much outside of a conference room and our upper floor balcony), AF speed is impressive at all focal lengths, albeit with some very slight 'wobble' when focus is acquired at long telephoto settings. In theory, the ZS200 should be capable of continuous autofocus at up to 6 fps – something we're keen to try out when we receive a final production camera.

Increased battery life and Bluetooth Low Energy

Built-in Wi-Fi is to be expected these days, but we're pleased to see that Panasonic has also included low-energy Bluetooth (BLE) in the ZS200. This allows for 'aways on' functionality, enabling easy remote trigger functionality from a smartphone without a huge hit in battery life.
Battery life is actually something of a strength of the ZS200. Usually when features get added to a camera, battery life goes down. Not so with the ZS200. Panasonic tells us that improvements have been made to power management, which have paid off in a CIPA rating of 350 shots (compared to 300 from the ZS200) when the LCD is used, and ~250 when shooting with the EVF.
Putting the camera into 'Eco' mode should ensure ~300 shots between charges, regardless of shooting style.

What do you think?

So what do you make of the Panasonic Lumix ZS200? Did one of the best travel zoom compacts just get better, or are you ambivalent about the extra zoom reach and slower lens? Let us know in the comments.]]>http://seriouslyphotography.com/2018/02/hands-on-with-panasonic-lumix-dc-zs200-tz200-2/feed/0167616Hands-on with Panasonic Lumix DC-ZS200 / TZ200https://www.dpreview.com/articles/4034328941/hands-on-with-panasonic-lumix-dc-zs200-tz200
https://www.dpreview.com/articles/4034328941/hands-on-with-panasonic-lumix-dc-zs200-tz200#respondFri, 16 Feb 2018 13:00:00 +0000https://www.dpreview.com/articles/4034328941/hands-on-with-panasonic-lumix-dc-zs200-tz200Continue reading "Hands-on with Panasonic Lumix DC-ZS200 / TZ200"]]>Hands-on with Panasonic Lumix DC-ZS200 (TZ200)

The Panasonic Lumix DC-ZS200 is a powerful, pocketable travel zoom compact camera, with an impressively long lens. We've had our hands on one – click through for a closer look.

20MP 1"-type sensor

The ZS200 is built around the same 1" 20MP BSI-CMOS sensor as its predecessor the ZS100, which immediately makes it a cut above traditional superzooms that sacrificed (among other thing) sensor size for lens reach.

15X optical zoom lens

The ZS200 scores over its predecessor in a few ways, but the most obvious upgrade is to the lens. While the ZS100's

range of 25-250mm was pretty good, the ZS200 turns things up to 11, spanning a much wider range, of 24-360mm (equiv).
Comprising 13 elements in six groups, this complex lens contains three extra low-dispersion elements and five aspherical, plus one that's both extra low-disperson and aspherical. That's pretty impressive for such a small camera.
Also updated compared to the ZS100 is minimum focus, which has been reduced to 3cm from 5cm (at 24mm equiv). Distortion at such a close distance (and at such a wide focal length) will be pretty wild, but for flowers, bugs and other organic subjects, it should be fine.

15X optical zoom lens

The extra zoom range doesn't come free though, and at F3.3-6.4, the ZS200's lens is slightly slower across its focal length span than its predecessor (shown above, on the left). The longer lens contributes to a slightly greater bodyweight, too. The ZS200 weighs 340g with a card and battery installed, compared to 310g for the ZS100.
This side-by-side shot shows off our ZS200's 'gunmetal' finish. Not quite gray, not quite silver, we think it looks rather nice. Good old black will still be an option when the camera ships next month.

4K video

The ZS200 offers 4K video recording at 30p and 24p. Familiar 4K Photo features like Post Focus are available, in addition to a couple of new modes which were also introduced into the DC-GX9.
Auto Marking analyzes a 4K video clip and automatically marks points at which it detects action, and Sequence Composition (illustrated above in a Panasonic-supplied example shot with the DC-GX9) is a 4K Photo feature that allows you to composite multiple frames of a moving subject in front of a static background into a single 4K-resolution still image.

2.3 million-dot EVF

Here at DPReview we love a good EVF, especially in pocketable travel cameras, where it can really make a difference to handling in bright light. The good news is that the ZS200's EVF is improved quite a bit over its predecessor. Resolution has been upped to 2.3 million dots, and magnification has been increased from 0.45X to 0.53X (equiv).
The bad news is that the viewfinder is still field-sequential, so the rainbow effect is alive and well, and shooting with a 0.53X magnification finder is still a bit like watching a television from the end of a hallway. As such, while the ZS200's EVF is much nicer than its predecessor's, it's not a match for the OLED finders in some competitors, such as Sony's RX100-series.

1.24 million-dot touchscreen

Keeping the ZS200's electronic viewfinder company is a fixed 3" rear LCD, which boasts 1.24 million dots and touch-sensitivity. As such, placing your desired AF point is as easy as simply tapping the screen.
We're also pleased to see that Panasonic has included its 'Touch Pad AF' feature to the ZS200. In essence, this is exactly what it sounds like – with your eye to the viewfinder, the ZS200's rear LCD can be used as a touch-pad to position the AF point. Pretty neat. And as you can see, despite the touchscreen, the ZS200 still has enough direct-access buttons to satisfy someone used to more traditional user interfaces (or someone wearing gloves).

Depth-from-Defocus (DFD) Autofocus

The ZS200 features a version of Panasonic's Depth-from-Defocus autofocus technology. In very simple terms, DFD uses known blur characteristics of Panasonic lenses to work out whether a subject is front or back focused, before driving the focusing group to achieve focus. This reduces the characteristic focus 'hunting' of a typical contrast-detection AF system, by increasing the processor's confidence that it's moving things in the right direction.
While we haven't had the chance to properly test the ZS200 (or use it much outside of a conference room and our upper floor balcony), AF speed is impressive at all focal lengths, albeit with some very slight 'wobble' when focus is acquired at long telephoto settings. In theory, the ZS200 should be capable of continuous autofocus at up to 6 fps – something we're keen to try out when we receive a final production camera.

Increased battery life and Bluetooth Low Energy

Built-in Wi-Fi is to be expected these days, but we're pleased to see that Panasonic has also included low-energy Bluetooth (BLE) in the ZS200. This allows for 'aways on' functionality, enabling easy remote trigger functionality from a smartphone without a huge hit in battery life.
Battery life is actually something of a strength of the ZS200. Usually when features get added to a camera, battery life goes down. Not so with the ZS200. Panasonic tells us that improvements have been made to power management, which have paid off in a CIPA rating of 350 shots (compared to 300 from the ZS200) when the LCD is used, and ~250 when shooting with the EVF.
Putting the camera into 'Eco' mode should ensure ~300 shots between charges, regardless of shooting style.

Stories:
Adobe speeds up Lightroom Classic…or did they? (#)
Fujifilm announces its X-H1. (#)
IKEA teams up with Hasselblad in an odd pairing. (#)
A New York Times photographer on access and shooting silently. (#)
An update on Peter Lik’s “Moonlight Dreams” photo. (#)
Sony and the 2018 Winter Olympics in South Korea. (#)
Canon and 4K in current and future bodies. (#)
Outtakes
My other podcast with Brian Matiash, the No Name Photo Show.

Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on Twitter, Instagram and Facebook (all @LensShark) as we build this community.

We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome!

You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”

Stories:
Adobe speeds up Lightroom Classic…or did they? (#)
Fujifilm announces its X-H1. (#)
IKEA teams up with Hasselblad in an odd pairing. (#)
A New York Times photographer on access and shooting silently. (#)
An update on Peter Lik’s “Moonlight Dreams” photo. (#)
Sony and the 2018 Winter Olympics in South Korea. (#)
Canon and 4K in current and future bodies. (#)
Outtakes
My other podcast with Brian Matiash, the No Name Photo Show.

Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on Twitter, Instagram and Facebook (all @LensShark) as we build this community.

We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome!

You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”

Once again, KelbyOne Members all over the world sent in entries, and these entries keep getting better and better, which makes the judging harder and harder. Nevertheless, we found an incredible photographer to honor with this own solo gallery show opening, and we’re excited to announce that our latest winner is UK-based photographer/Photoshop artist:

Ian Munro

Ian (and a guest of his choice) will be flown to Tampa, Florida to be there for the wine and cheese reception celebrating his own solo gallery show at “The Gallery at KelbyOne.” (Note: If you’re like “What’s this whole gallery thing?” check

this quick Q&A)
Ian’s fine art conceptual storytelling and his masterful post processing style really captivated the judges. We kept coming back to his images again and again, because of their understated humor, wonderful composition, and an overall sense of taking you to a fanciful, peculiar, and distinctively different time and place.
One thing we’re really excited to see is how amazing Ian’s images look printed big on the walls of the gallery (the images are printed using Bay Photo Lab‘s ‘Xpozer’ system for exhibition printing, and Ian’s images are going to rock printed in this medium).

You’re invited to Ian’s gallery opening:

7:00 pm on Friday, March 16th at the Gallery at KelbyOne (in the Tampa, Florida area).

Immediately following the reception, we’ll move into the theater where we’ll be broadcasting a live 1-hour interview (hosted by Larry Becker) with Ian at 8:00 pm ET that evening (streamed live and open to everyone).

More details and a link to RSVP as we get closer to the opening.

I want to once again recognize my awesome wife Kalebra for coming up with this idea of honoring, uplifting and celebrating the work of the talented photographers, illustrators and artists in the KelbyOne community by providing them with added recognition and a new audience to enjoy their work. Who knows what doors this could open, and I’m thrilled we get to be a small part of it all.

Best,
-Scott
The post The Next Winner of Their Own Solo Gallery Show is… appeared first on Scott Kelby's Photoshop Insider.]]>https://scottkelby.com/next-winner-solo-gallery-show/feed/0167602Lensbaby Burnside 35 Lens – Swirly Bokeh & Adjustable Vignettehttp://www.newsshooter.com/2018/02/16/lensbaby-burnside-35-lens-adjustable-swirly-bokeh-vignette/
http://www.newsshooter.com/2018/02/16/lensbaby-burnside-35-lens-adjustable-swirly-bokeh-vignette/#respondFri, 16 Feb 2018 06:09:37 +0000http://www.newsshooter.com/?p=62476Lensbaby Burnside 35 Lens – Swirly Bokeh & Adjustable Vignette appeared first on Newsshooter.]]>http://www.newsshooter.com/2018/02/16/lensbaby-burnside-35-lens-adjustable-swirly-bokeh-vignette/feed/0167598Top 10 WeeklyFstop Photos: Greenhttps://fstoppers.com/originals/top-10-weeklyfstop-photos-green-222679?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/originals/top-10-weeklyfstop-photos-green-222679?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondFri, 16 Feb 2018 04:49:00 +0000https://fstoppers.com/p/222679
I would never have guessed that a simple prompt like "green" could have produced such amazing results this week. Our readers really showed up with arguably the best top 10 list yet.[ Read More ]]]>http://seriouslyphotography.com/2018/02/top-10-weeklyfstop-photos-green/feed/0167774So is the 18-Core iMac Pro Worth It?http://feedproxy.google.com/~r/wordpress/jvaG/~3/jdEGs7WYDNs/
http://feedproxy.google.com/~r/wordpress/jvaG/~3/jdEGs7WYDNs/#respondFri, 16 Feb 2018 03:42:35 +0000http://blog.vincentlaforet.com/?p=10455Continue reading "So is the 18-Core iMac Pro Worth It?"]]>
So is Apple’s 18-Core iMacPro worth it?
In short: YES – if your software can take advantage of it. That’s the KEY.
But just as key: the 10-core iMac is really at the sweet spot of what the vast majority of users will likely ever need. It’s a little beast!Final Cut Pro X is clearly designed to take FULL advantage of the 18 cores, whereas DaVinci Resolve is several times slower on similar exports (as much as 5 times slower) and unfortunately Adobe Premiere is currently not even on the same racetrack…

The results continue to be seriously

especially for those transcoding high resolution and RAW coded footage or using processor intensive VR footage for example.
The best way I can illustrate this is by sharing the following test:
1. I started off w/ 62GB RED Digital Cinema R3D 6 K files totaling 8 min 21 seconds of aerial footage.
2. I loaded the footage into the latest Final Cut Pro X version and asked it to generate: Optimized Video + Proxies.
Here are the results of how much time that took:
1. iMacPro 18-Core: 25 min 17 seconds to generate both Proxy + Optimized Video
2 I then exported the 8 min+ timeline as a 4K ProRes444 file in 8 min 20 seconds … that’s 1:1 on RED footage (nice!!!)
At this point:
– The 10-core iMac Pro was anywhere from 10-80% slower depending on how the software took advantage of the 8 additional cores and the process.
With software such as Adobe Lightroom the difference was negligible- whereas w FCPX transcoding it was as much as 80% faster due to the 8 additional cores.
– The top-of-the line Mac Pro was still transcoding (generating the initial first of three steps: generating proxy and optimized media for the first of the 2 clips .. it was at 96% of the first clip…)
– The top-of-the line MacBook Pro 15″ took:
1 hour and 11 minutes to render the same files and 27 min to output the ProRes444 output.
– And for of those who are still holding onto the old 15″ MacBook Pro w/ Magsafe… well … it took well over 6 hours to do the same 3 steps.
Here’s where it gets REALLY interesting though:
Comparing dif
ferent pieces of software that are specifically designed to take advantage of the CPU / GPU etc:
I exported a recent shoot via DaVinci Resolve my usual go-to NLE (editing) app that I use because I love to grade in it … and compared the results to FinalCutPro …
I exported a nearly 3 hour timeline shot on the RED Helium 8K at 60 fps to a ProRes444 4K file:
Thru Resolve the export took 5 hours 22 minutes …
Thru the 18-core iMacPro it took … 1 hour 9 minutes!
That’s significant.
In fact the round-tripping between Resolve and Final Cut Pro is so effortless that I’m currently going thru my second round of FCP X tutorials…
Speaking of FCPX – the playback of the 8K footage and scrubbing of it is so utterly effortless that it’s very hard to recommend anything else right now if you’re editing RED R3Ds on a Mac.
The iMacPro 18-core plays the footage in DaVinci Resolve at 5.8 fps whereas the 10-core plays the same footage at 3.8 fps. More importantly the footage (while rezed-down) in FCP X looks sharp on the 18 core prior to any proxy generation … is visibly lightly “blurry” looking on the 10 core (as it’s being rendered at a lower quality.)
So what’s the skinny – is the 18 core vs the 10 core worth $3K more? The answer is simple: what’s your time worth? What format are you shooting (and can it take advantage of these cores) and more importantly: Can the software you’re using take full advantage of the 18 core?
If you’re using FCPX and you transcode RAW 4K-8K footage, let alone RAW RED R3D footage in Final Cut Pro – it’s a TOTAL no brainer…
If you’re purely a Davinci Resolve user – then you’ll need to wait a bit for them to take advantage of those additional 8 cores – and I’m sure they will. Currently you get an error message every time you launch Resolve, stating that it can’t take advantage of the 18-cores with RED’s RAW decoder
You’ll notice I haven’t mentioned Adobe Premiere Proe Pro results in these tests … well, you’ve got to realize that all of these pieces of software improve upon one-another with leaps and bounds… and given the amount of friends I have at AdobeAdobe I’m simply going to say that as of this moment: their photo and video apps are on the valley side of the equation … not the peak.
If you use Adobe Photoshop or Adobe Photoshop Lightroom user for example: the software is simply not designed to take full advantage of either the 10 or 18 core machines just yet. In fact the software seems to be taking advantage of less than 20% of the CPU’s power.
Disclaimer: as with my last post, for those on the very highest end, a custom built PC is still likely to give you the best bang for your buck in terms of pure performance. That being said, 50% of those who’ve custom-built one swear by them … whereas the other 50% swear AT them and are utterly frustrated w them and Windows … it’s a mixed bag and larger depends on your Love (or opposite) of Windows.
Just 2 years ago Adobe’s Premiere and notably Adobe’s Media Encoder was TEARNG thru R3D and H.264 footage making it a – if not THE – GO TO NLE – or editing software.
At the end of the day: we’re going to have to become proficient w ALL NLEs – Final Cut Pro. X, Adobe Premiere, Davinci Resolve and … well no: Not Sony Vegas …sorry. Is that still around?
Point is: it’s likely going to ebb and flow and all of these pieces of software have CLEAR advantages. For exaMark Toia Toia is teaching his son to become proficient in all of them. He’s editing 20-30 day commercial shoots (shot in 6K-8K RED) on his MacBook Pro on the road as well as a feature film in Final Cut Pro X … and he is proficient in ALL NLEs. Says a lot – no?
For those who use software that routinely use high end footage that pushes hardware to its limits – the 18-core is AWESOME.
For most people: the iMacPro 10-core is a really, really, really SWEET SPOT. That’s also a key takeaway – I’d venture to bet that most people will be quite happy with the base model 10-core iMacPro for their Video and Still photography needs – that is 2X to 3X faster than any other Mac out there today.

]]>http://blog.vincentlaforet.com/2018/02/15/so-is-the-18-core-imac-pro-worth-it/feed/01675925 Super Useful Camera Accessories You Can Get for Less than $50https://nofilmschool.com/2018/02/5-super-useful-camera-accessories-you-can-get-less-50
https://nofilmschool.com/2018/02/5-super-useful-camera-accessories-you-can-get-less-50#respondFri, 16 Feb 2018 03:00:00 +0000http://seriouslyphotography.com/?guid=80110f086575f3ceb2bfbb4b59351324Continue reading "5 Super Useful Camera Accessories You Can Get for Less than $50"]]>
Is your gear bag hungry? Feed it with these budget-friendly filmmaking gadgets.
Whether you're a shameless gear addict or someone actually in need of equipment that works for you, there is so much filmmaking equipment out there to give you what you're looking for. And even though a lot of it is notoriously expensive and overpriced, there are many gadgets that are both budget-friendly and incredibly useful. In this video, filmmaker Armando Ferreira shares five of his favorite pieces of filmmaking gear priced comfortably under $50. Check it out below:
The greatest thing about the gear mentioned in the video is that they work well for filmmakers of all levels of experience. If you're a beginner, you'll benefit from their ease of use and small price tag. If you're a pro, you'll benefit from their build quality and convenience.
Here is all of the gear Ferreira talks about in the video. (You can find the links to each of them in the video's description.
Read More]]>http://seriouslyphotography.com/2018/02/5-super-useful-camera-accessories-you-can-get-for-less-than-50/feed/0167596Skier Crashes Into Photographer at Winter Olympicshttps://fstoppers.com/news/skier-crashes-photographer-winter-olympics-222667?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/news/skier-crashes-photographer-winter-olympics-222667?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondFri, 16 Feb 2018 02:46:00 +0000https://fstoppers.com/p/222667
There is often an element of risk in sports photography: flying baseballs, out-of-control cars, or in this case, a crashing skier. Swiss Skier Lara Gut slid into Photographer Sean Haffey during her second run in the giant slalom in a scary collision at the 2018 Winter Olympics.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/skier-crashes-into-photographer-at-winter-olympics/feed/0167594Battle of the 85mm Glass: Which Canon Lens Is Right for You?https://fstoppers.com/gear/battle-85mm-glass-which-canon-lens-right-you-222658?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/gear/battle-85mm-glass-which-canon-lens-right-you-222658?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondFri, 16 Feb 2018 01:51:00 +0000https://fstoppers.com/p/222658Continue reading "Battle of the 85mm Glass: Which Canon Lens Is Right for You?"]]>
Canon's introduction of the EF 85mm f/1.4L IS USM lens was certainly exciting, particularly for portrait shooters, but it also muddied the waters a bit in terms of which 85mm option is the best among their three offerings. This great video compares the trio and will help you pick which is right for you.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/battle-of-the-85mm-glass-which-canon-lens-is-right-for-you/feed/0167677Samsung teases Galaxy S9 low light and slow-mo performancehttps://www.dpreview.com/news/5869707330/samsung-teases-galaxy-s9-s-low-light-and-slow-mo-performance
https://www.dpreview.com/news/5869707330/samsung-teases-galaxy-s9-s-low-light-and-slow-mo-performance#respondFri, 16 Feb 2018 01:50:00 +0000https://www.dpreview.com/news/5869707330/samsung-teases-galaxy-s9-s-low-light-and-slow-mo-performanceContinue reading "Samsung teases Galaxy S9 low light and slow-mo performance"]]>

On the 25th of February, Samsung will unveil its latest flagship phone, the Galaxy S9, and the Korean company is already heavily teasing some of the new model's new and improved camera features in a couple of short teaser videos on its Korean Youtube channel.

The first video (above) shows several low-light scenes in quick succession. Towards the end there is the silhouette of a deer in near darkness. The animal's head brightens up when the number 9 appears around it, hinting at some kind of low-light mode or improved low-light capability in the camera.

Previous rumors have mentioned a F1.5/F2.4 aperture. The lower value would be one of the fastest apertures on any smartphone camera, but we'd suspect Samsung will add some clever multi-frame-stacking technology on top of that to achieve usable exposures in very low light and manage noise.

Another video is a quick succession of action-packed scenes. At the end, a skydiver is almost frozen in time as the number 9 appears, hinting at some kind of super-slow-motion capture. From what we know so far, the S9 will come with a 480fps 1080p Full-HD slow-motion mode.
These kinds of teasers always leave you with more questions than answers, but fortunately we'll know more in 10 days time when the device is launched. We'll be at the event in Barcelona, so stay tuned for more details!]]>http://seriouslyphotography.com/2018/02/samsung-teases-galaxy-s9-low-light-and-slow-mo-performance/feed/0167588Shooting wet plate collodion double exposures… handheldhttps://www.dpreview.com/articles/8914069820/shooting-wet-plate-collodion-double-exposures-handheld
https://www.dpreview.com/articles/8914069820/shooting-wet-plate-collodion-double-exposures-handheld#respondFri, 16 Feb 2018 01:40:00 +0000https://www.dpreview.com/articles/8914069820/shooting-wet-plate-collodion-double-exposures-handheldContinue reading "Shooting wet plate collodion double exposures… handheld"]]>
Wet plate photographer Markus Hofstaetter is always experimenting with his art in different ways—whether it's capturing creepy halloween portraits, or this failed attempt to capture a fire and water wedding portrait on both digital and wet plate. His latest experiment, however, was a success.
He managed to do something he's dreamed of for years: he was able to capture wet plate portraits handheld. In fact, he went one better; he shot handheld wet plate collodion double exposures.

One of the hand-held double exposures Markus captured with his newest setup.

The entire 'journey'—from finding a hand-holdable wet plate camera, to

it up and making it ready to shoot, to the actual double exposure shots—is documented in the video above and on Hofstaetter's blog, in which his tone seems to be "I'm glad I did this, but lord was it a pain in the butt."
One of the biggest challenges facing Hofstaetter was getting enough light to capture the plates handheld. "Even though these are small plates, I had to use 6000-7000 Watts of Hensel strobe power to get enough light thru the grided softbox," he writes. But in the end, it worked. And since he was mixing new tech and old technique, he decided that steampunk portraits would be appropriate.
Here's some of what he captured:

Whether or not you like the final images, you have to admire Hofstaetter's determination and creativity. He found a camera that would work, 3D printed plate holders because they were missing, and then managed to do something we haven't ever hear of before. Kudos are definitely in order.
Check out the video up top to see the full journey from purchase to plates, and the head over to Hofstaetter's blog for more behind the scenes images and other crazy experiments.
All photos, videos, and GIFs by Markus Hofstaetter and used with permission.]]>http://seriouslyphotography.com/2018/02/shooting-wet-plate-collodion-double-exposures-handheld/feed/0167590Fstoppers Reviews the SpiderLight Backpacker Kit: Ditch That Camera Strap Once and for Allhttps://fstoppers.com/gear/fstoppers-reviews-spiderlight-backpacker-kit-ditch-camera-strap-once-and-all-222636?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/gear/fstoppers-reviews-spiderlight-backpacker-kit-ditch-camera-strap-once-and-all-222636?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondFri, 16 Feb 2018 00:59:00 +0000https://fstoppers.com/p/222636
Camera straps: can’t live with them, can’t live without them. The SpiderLight Backpacker Kit may be the answer to break free.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/fstoppers-reviews-the-spiderlight-backpacker-kit-ditch-that-camera-strap-once-and-for-all/feed/0167665Panasonic AU-EVA1 Firmware Update Improves Compatibility with Sigma ART Lenseshttp://www.newsshooter.com/2018/02/16/panasonic-au-eva1-firmware-update/
http://www.newsshooter.com/2018/02/16/panasonic-au-eva1-firmware-update/#respondThu, 15 Feb 2018 23:46:10 +0000http://www.newsshooter.com/?p=62459Panasonic AU-EVA1 Firmware Update Improves Compatibility with Sigma ART Lenses appeared first on Newsshooter.]]>http://www.newsshooter.com/2018/02/16/panasonic-au-eva1-firmware-update/feed/0167582New Class – Mastering The Natural Light Portrait: Post Processinghttps://scottkelby.com/new-class-mastering-natural-light-portrait-post-processing/
https://scottkelby.com/new-class-mastering-natural-light-portrait-post-processing/#respondThu, 15 Feb 2018 21:47:21 +0000https://scottkelby.com/?p=46865Continue reading "New Class – Mastering The Natural Light Portrait: Post Processing"]]>Mastering The Natural Light Portrait: Post Processing with Scott KelbyJoin Scott Kelby for the conclusion to his Mastering the Natural Light Portrait class, as he works through his process for editing the photos from that shoot. In this class you’ll learn the core types of edits you will apply to all of your natural light portraits. In this class you’ll learn different techniques for reducing distractions and making the face the most eye-catching part of the photo. From soft northern exposure light to dappled light, Scott teaches you how to analyze the photo, plan your approach, and get the out of what Lightroom and Photoshop have to offer.

In Case You Missed ItLearn the essential elements of retouching! Join Viktor Fejes as he provides you with a solid a foundation for how to approach retouching. This is not a class on how to use the basic tools of retouching, but rather how to think about retouching in a logical and methodical fashion, so that you can develop a workflow to properly retouch a photo from start to finish. You’ll learn how to evaluate an image, how to start in Camera Raw, how to structure your layers in Photoshop, how to use techniques involving false colors to fine tune texture, tones, and color, and all the while gaining a firm understanding for why you would approach retouching in this way.
The post New Class – Mastering The Natural Light Portrait: Post Processing appeared first on Scott Kelby's Photoshop Insider.]]>https://scottkelby.com/new-class-mastering-natural-light-portrait-post-processing/feed/0167572Fujifilm X-H1: a serious camera for videohttps://www.provideocoalition.com/fujifilm-x-h1-serious-camera-video/
https://www.provideocoalition.com/fujifilm-x-h1-serious-camera-video/#respondThu, 15 Feb 2018 21:46:25 +0000https://www.provideocoalition.com/?p=67879Continue reading "Fujifilm X-H1: a serious camera for video"]]>
Announced as the highest performance camera in the X family, the Fujifilm X-H1 may be seen as a step towards the segment of the market where the Panasonic GH5 sits. Is there a war about to start?
The rumors from the last weeks are confirmed, and the web is now full with information and comments about the new camera from Fujifilm, which represents a step forward for Fujifilm users aspiring for more video options, and may even entice potential buyers to look at this DSLR-like body – yes, it’s a mirrorless but looks more and more like a DSLR – features the most complete list of video features a X series camera offers.
Fujifilm is, no doubt, moving into the video segment, a move that makes sense, as the company as the experience of serious cinematography – look at the lenses they produce – and is now in a position to expand the moving images option in their APS-C cameras. For some, this new camera represents a move into Panasonic GH5-GH5s territory, so the discussion about the advantages and problems of each model will be theme for inumerous conversations on the web. One thing is sure: Fujifilm wants this model to be regarded as a camera offering professional video capabilities.
The new X-H1 is the first to feature in-body image stabilization (IBIS), a new Flicker Reduction mode that allows for stable exposure under fluorescent and mercury lighting, DCI 4K and other impressive video capabilities. The presence of IBIS is already pointed by some as an advantage when compared with the Panasonic GH5s, but any discussion over this theme has to take into consideration the reasons Panasonic pointed to remove IBIS from the GH5s: the technology does seem to have problems with cameras mounted in gimbals, something the GH5s was designed for.
Let’s leave that discussion for others, and center here on the features that make the Fujifilm X-H1 an interesting camera for video. While it may not be important to some, the X-H1 is the first camera in the X Series to include ETERNA, a new film simulation mode that is ideal for shooting movies. Those familiar with Fujifilm’s film simulation – which works fantastically, as I had a chance to try – will probably be happy with this new addition. This mode simulates cinematic film, creating understated colors and rich shadow tones, greatly enhancing creative freedom during post-processing.
In terms of video image quality, the X-H1 boasts many functional and performance improvements, including the 1080/120P high-speed video mode (1/2, 1/4 and 1/5 speed slow motion) for recording spectacular slow-motion footage; F-log SD card recording which aids smooth workflow; a DCI 4K shooting mode (4096×2160); a 400% dynamic range setting (approximately 12 stops); 200 Mbps high bit rate recording; a high-sound quality internal microphone (24 bit/48 kHz); and verbal time codes.
Movie recording, using a card with the UHS Speed Class 3 or higher, offers the following options:

The Vertical Power Booster Grip VPB-XH1, which can be added to the camera, is not just something photographers will appreciate, is also a tool videographers will love, because it increases the maximum period for shooting movies in 4K to about 30 minutes. Fujifilm has done this before: by moving the batteries away from the body, as the grip receives two additional batteries, the video capture time at high-resolution is expanded. The Vertical Power Booster Grip features a shutter release button, focus lever, AE-L button, AF-ON button, command dial, Q button, and Fn button, providing the same ease of operation when using the camera in vertical or horizontal positions. The grip is equipped with a headphone socket to allow monitoring sound while recording, and includes recharging capability.
The new camera is built around a 24.3 megapixel APS-C sized X-Trans CMOS III sensor and X-Processor Pro image processing engine. The X-H1 boasts a newly designed, robust and durable body, with dust and water-resistant properties and ability to operate in temperatures as low as 14°F \ -10°C. The X-H1 also features 25% thicker magnesium alloy than the X-T2. The camera also features a high quality, scratch-resistant coating and a compact, lightweight body that maintains high precision and strong resistance to impact shock torsion and other sources of deformation.
The camera offers a range of features that support shooting in various situations by professional and experienced amateur photographers, and videographers. When used in combination with FUJINON lenses and Fujifilm’s signature color reproduction technology, the X-H1 produces outstanding image quality and video reproduction.
“The new X-H1 is our first X Series model to feature in-body image stabilization, and we are very excited to introduce this camera to the market,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation. “In addition to ensuring outstanding image quality, the X-H1 is fully equipped with an array of features and functionality specifically designed to enhance creative expression in a wide range of settings.”
In-body image stabilization, able to reach 5.5 stops, makes its debut in the X family through this camera. Three axial accelerometers, three axial Gyro sensors, and a specially-developed dual-processor to achieve approximately 10,000 calculations per second make the magic. When combined with compensating mechanisms, the X-H1 produces uncompromised image quality and precision. 5-axis image stabilization is possible with all XF and XC lenses, with certain lenses capable of up to a maximum of 5.5 stops. In addition, a new spring mechanism has been added to reduce micro-vibrations caused by operation of the mechanical shutter. Photographers may also choose to use the electronic front curtain shutter or the electronic shutter, virtually eliminating the effect of vibrations to maximize the benefits of image stabilization.
The new X-H1 features a high-magnification and high-precision electronic viewfinder with a magnification ratio of 0.75 times and 3.69 million dot resolution, leading the class for APS-C mirrorless cameras. The viewfinder display is extraordinarily smooth, with a display time lag of just 0.005 seconds and a frame rate of 100 frames per second, allowing the user to instantly confirm the movement of the subject and position the focus with great precision. The X-H1 also features a 3-direction tilt, 3-inch, 1.04 million dot electrostatic touch-panel LCD, which can be intuitively set to the desired angle. In addition, the 1.28 inch sub-LCD on the top of the camera, which emulates the design of the mirrorless medium format GFX 50S, allows for instant confirmation of shooting information.
The X-H1 incorporates additional improvements based on feedback from professional photographers, including a large grip design, leaf-spring switch for the shutter-release button, near-silent shutter sound, a new focus level, and a new AF-ON button and enlargements of buttons on the rear of the camera.
The Fujifilm X-H1 has two lenses for professional video shooting: the FUJINON MKX18-55mmT2.9 and MKX 50-135mmT2.9, which are the first full manual cinema lenses to be compatible with the X Series interchangeable lenses. In the 35mm format equivalent, MKX18-55mm covers a focal distance from 27mm to 84mm and MKX50-135mm covers a focal distance from 76mm to 206mm. Combined with X Series’ unique color reproduction technology, MKX lenses further broaden the expression for professional video shooting.
The X-H1 will be available on March 1, 2018 in the U.S. and Canada. The X-H1 Body will be available for USD $1,899.95 and CAD $2,449.99 and the X-H1 Body with Vertical Power Booster Grip Kit will be available for USD $2,199.95 and CAD $2,799.99.
The post Fujifilm X-H1: a serious camera for video appeared first on ProVideo Coalition.]]>https://www.provideocoalition.com/fujifilm-x-h1-serious-camera-video/feed/0167570Fujifilm X-H1: A Disappointing Releasehttps://fstoppers.com/originals/fujifilm-x-h1-disappointing-release-222576?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/originals/fujifilm-x-h1-disappointing-release-222576?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondThu, 15 Feb 2018 21:37:00 +0000https://fstoppers.com/p/222576
Fujifilm has recently announced the X-H1, a larger APS-C mirrorless camera that leans more towards the video crowd. Although this camera is definitely an interesting one, I can't help but feel a little disappointed with the features.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/fujifilm-x-h1-a-disappointing-release/feed/0167741ProGrade Digital: A New Memory Card Brand by Ex-Lexar Execshttp://feedproxy.google.com/~r/PetaPixel/~3/IRkP8tvmd5U/
http://feedproxy.google.com/~r/PetaPixel/~3/IRkP8tvmd5U/#respondThu, 15 Feb 2018 20:35:10 +0000http://petapixel.com/?p=303739Continue reading "ProGrade Digital: A New Memory Card Brand by Ex-Lexar Execs"]]>
Say hello to ProGrade Digital, a new brand of pro-grade memory cards and card readers for photographers. The company was founded by former Lexar executives who are aiming to offer the highest quality memory cards on the market.
Micron shocked the photo world in June 2017 when it unexpectedly announced the end of Lexar-brand memory cards. A few months later, Lexar as given a new shot at life when the brand was acquired by the Chinese flash storage company Longsys.
A group of former Lexar executives has now banded together to compete against the likes of SanDisk and Lexar

the camera storage space. The founding leadership team all held managerial or technical leadership positions at Lexar and have over 60 years of combined experience in the memory card niche.
“Leveraging its experience and industry relationships, the team will focus exclusively on developing and marketing memory cards, card readers and software optimized for use within professional cinema and photography markets,” ProGrade Digital says.
“Our goal is to be the professional’s source for top performing, professional grade memory cards and workflow solutions,” says founder and CEO Wes Brewer. “We will be committed to focusing our efforts on the digital imaging pro who is meticulous about his equipment and workflow-delivering the best service, plus best product quality and reliability.”

Memory Cards

The company will start out with lines of CFast 2.0 (550MB/sec) and SDXC UHS-II (200MB/sec) cards at pro-level capacities. The controllers in the cards are optimized for pro-grade cameras, and each card will undergo rigorous full-card testing (component-level down to individual memory chips) for “the highest quality control.”
Each card will also ship with a 3-year warranty when they hit store shelves later this month through the company website, B&H, and Amazon.
The CFast 2.0 cards will be available in 128GB, 256GB, and 512GB capacities for $230, $350, and $700, respectively.
The SDXC UHS-II cards will be available in 64GB, 128GB, and 256GB capacities for $55, $95, and $190, respectively.

Memory Card Reader

The ProGrade Digital memory card reader features dual slots for both CFast and SDXC, and it uses USB 3.0 Gen 2 for transfer speeds of up to 10Gb/second. You’ll be able to multi-task thanks to the fact that the reader supports full-speed data flow concurrently from cards in each slot.
Each reader comes with two 18-inch-long cables (a Type A to Type C cable and a Type C to Type C cable) and a 2-year warranty.
You’ll be able to purchase the ProGrade Digital card reader later this month for $80.

]]>https://petapixel.com/2018/02/15/prograde-digital-new-memory-card-brand-ex-lexar-execs/feed/016755810 Tips for Getting the Most Out of Your 2018 Photography Workshophttps://blog.photoshelter.com/2018/02/10-tips-getting-2018-photography-workshop/
https://blog.photoshelter.com/2018/02/10-tips-getting-2018-photography-workshop/#respondThu, 15 Feb 2018 20:24:49 +0000https://blog.photoshelter.com/?p=47427Continue reading "10 Tips for Getting the Most Out of Your 2018 Photography Workshop"]]>10 Tips for Getting the Most Out of Your 2018 Photography Workshop appeared first on PhotoShelter Blog.]]>https://blog.photoshelter.com/2018/02/10-tips-getting-2018-photography-workshop/feed/0167568Wildlife and nature as seen through a REDhttps://www.provideocoalition.com/wildlife-nature-seen-red/
https://www.provideocoalition.com/wildlife-nature-seen-red/#respondThu, 15 Feb 2018 20:13:44 +0000https://www.provideocoalition.com/?p=67868Continue reading "Wildlife and nature as seen through a RED"]]>
Shannon Wild and Russell MacLaughlin, Paul Nicklen, Andy Casagrande and Asgeir Helgestad all have a passion for nature and wildlife. They also have another thing in common: all use RED cameras.
RED’s Collective series is the ideal place to discover how different authors use the RED cameras they have chosen as their tool to share their visions with the world. The work of different filmmakers, covering different genres and areas, is displayed there, and each video is a lesson on technical aspects, but goes well beyond that, sharing with viewers how authors approach their preferred subjects.
The newest addition to Collective series features wildlife photographers and filmmakers Shannon Wild and Russell MacLaughlin. Renowned for capturing intimate shots of wildlife in their natural environments, the husband-and-wife filmmaking team take us behind-the-scenes while they discuss the immense passion and patience required to shoot wildlife, and the importance of having the highest-performance camera equipment to capture these unscripted moments.
Shannon and Russ’ award-winning images have been featured on National Geographic and Animal Planet, and in exhibits around the world, and in this 9-minute video they take us from the beaches of Indonesia with the Komodo dragon, to a journey in Kenya as they hunt with the big cats. Although they will share the importance of using professional-grade camera equipment, you’ll understand that you need more than that to come home with images like those: patience and passion are two key ingredients for a small team that, as Shannon says, is adequate for wildlife projects like those they pursue.
The amazing footage incited me to browse through RED’s Collective, which ProVideo Coalition has mentioned before, but this time I decided it made sense to pick the authors working with wildlife and nature subjects, and that’s how this longer note about RED’s Collective, the place “bringing visionaries into focus”, developed. I think it makes sense to share their videos here, and challenge readers to explore further the work from each author.
The second author on RED’s Collective is Paul Nicklen, who has dedicated his life to being an advocate for the Earth’s threatened polar regions. Paul uses the Sea Legacy Foundation to bring awareness to the species and ecosystems currently in peril due to climate change through immersive, visual storytelling.
The 7-minute video is, again, not a journey into the technical aspects of using a RED camera, but a journey into Paul Nicklen’s passion since childhood, and his path through a biology career until the moment he felt he needed more than data; he needed images, stills and moving images. As he says in the video, “the science is the foundation of what we know, but that does not create the emotional connection”.
Through Paul Nicklen’s words we discover the importance of “getting lost in the creative process” to share with viewers something that makes them care. Paul Nicklen’s conservation efforts to protect our oceans can be seen at the Sea Legacy website. Sea Legacy is a collective of some of the most experienced and renowned photographers, filmmakers and storytellers working on behalf of our oceans.
Andy Casagrande is the third author present at RED’s Collective who has a passion for wildlife, in his case, a very specific subject: sharks. In fact, Andy Casagrande has made a name for himself as one of the top underwater cinematographers in the world, and in the video he discusses how he channeled his fascination with sharks into a career.
Andy has spent years capturing the most daring underwater shots of sharks in their native habitats, and uses his work to not only show the grace and beauty of these often misunderstood animals, but also highlight an entire ecosystem that lays hidden below the surface.
An avid ocean conservationist, Andy Casagrande’s work can be seen at ABC4FILMS website, where one can read that “with more than 100 wildlife film credits to his name, Andy has shot & produced films for the world’s top television networks including National Geographic, BBC, Discovery Channel, ABC, NBC, CBS, FOX & Animal Planet. Andy’s life-long mission is to inspire people to care about our planet & its vanishing wildlife.”
Asgeir Helgestad, the Norwegain wildlife photographer and filmmaker that closes this look at RED’s Collective series has worked as a professional since 1991, producing both stills and film for various clients. His video at RED’s Collective is, somehow, a departure from the others, with a strong Black & White presence that fits rather well the white landscapes the author knows so well.
Asgeir, who founded a film production company, Arctic Light AS, has a broad background as a film photographer, but he is particularly experienced in filming birds and mammals, as well as people on outdoor activities. He is trained in working under cold and harsh conditions since many of his projects are from the Arctic and Antarctica. His still photography and films have won him several international awards including prizes at the biggest wildlife film and photo competitions such as Wildlife Photographer of the Year and Wildscreen Film Festival.
Besides the passion for wildlife and RED cameras, Asgeir Helgestad shares something else with all the other filmmakers presented here: a desire to spread the word about the need to protect the planet we live in. That’s a message you’ll find in the four videos, which I hope you watch carefully, for all the knowledge and experience they offer. The beauty of that amazing footage is also something that will grab your attention!
The post Wildlife and nature as seen through a RED appeared first on ProVideo Coalition.]]>https://www.provideocoalition.com/wildlife-nature-seen-red/feed/0167556Watch: What Superman Teaches Us About Character and Storytellinghttps://nofilmschool.com/2018/02/watch-what-superman-teaches-about-character-and-storytelling
https://nofilmschool.com/2018/02/watch-what-superman-teaches-about-character-and-storytelling#respondThu, 15 Feb 2018 20:00:00 +0000http://seriouslyphotography.com/?guid=c9a55a83b8f6afd8aa5bb24528b53b7eContinue reading "Watch: What Superman Teaches Us About Character and Storytelling"]]>
This video looks at the characterization of an iconic figure and the complications involved in crafting a superhero.
Opening this Friday, Ryan Coogler's Black Panther has receivedrapturous reviews and a huge ticket presale. Inspired by the upcoming release, Jack's Movie Reviews has returned to examine a different superhero (this one from the DC Comics canon), exploring how Superman/Clark Kent's struggles illuminate the difficulties apparent in creating a superhero.
As Jack notes, "something that is found within every well-written character is the overarching conflict that they must ." This is both an external conflict (like defeating Lex Luther) and an internal one. When it comes to Superman, internal conflicts are more difficult to find, as he almost never experiences self-doubt or introspection. "He's a savior of the people who always does his best to do as much good as possible [and] there is no moral ambiguity, nothing to question."
Read More]]>http://seriouslyphotography.com/2018/02/watch-what-superman-teaches-us-about-character-and-storytelling/feed/0167562Panono has new CEO, puts focus on software solutionshttps://www.dpreview.com/news/5144219978/panono-has-new-ceo-puts-focus-on-software-solutions
https://www.dpreview.com/news/5144219978/panono-has-new-ceo-puts-focus-on-software-solutions#respondThu, 15 Feb 2018 19:45:00 +0000https://www.dpreview.com/news/5144219978/panono-has-new-ceo-puts-focus-on-software-solutionsContinue reading "Panono has new CEO, puts focus on software solutions"]]>

Professional360 GmbH, the recently re-named company behind the Panono 360-degree camera and software solutions, has a new CEO. Thomas Escher has previously held a number of top-level management positions in media houses such as Axel Springer and ProSiebenSat.1 Media, and managed the French foreign business of the online toy retailer MyToys, among other roles.
“In Thomas Escher we have found a CEO with expertise both in media and entertainment and in classical e-commerce,” said a spokesperson of Bryanston Group AG, the company who has acquired the assets of Panono and has been running its business operations since July

.
With the new CEO at its helm, the company is adjusting its strategy, reducing the focus on hardware and towards customized 350-degree software solutions, with real-estate and construction two key target sectors. Escher explains:

108 megapixels make our camera the highest resolution 360 degree one-shot camera in the market. We will strive to uphold and extend this technological leadership in the future. However, today this is no longer enough: especially among professional users, there’s a growing demand for individual software, cloud and web applications. They desire a first-class virtual presence both for web and mobile applications, as well as the most innovative content solutions.

“At the moment, real estate is still very traditional in its structures and processes, but with digitization moving forward, there are dramatic changes ahead in the next years,” continues Escher. “For one of our customers, we have developed a tool to create virtual tours out of our 360 degree images and to link them to a floor plan. This way, complete houses can be viewed online. Our customers can offer their clients viewings that are independent as to both time and place.”
This is only the latest chapter in Panono's brief but turbulent history, and a stark move away from the more traditional, consumer focused 360° camera industry Panono started in. We had several occasions to have a closer look and test the Panono camera and were impressed by the technology. Hopefully the new CEO and strategy can help get the company back on track, and push 360-degree imaging technology further.
Press Release

MORE THAN JUST A CAMERA: NEW PANONO CEO TO TRANSFORM THE OPERATIONS

- Thomas Escher new CEO of Panono- New focus on software solutions and services for 360 degree photos- Strong customer focus
Berlin, 15 February 2018 – In February 2018, Thomas Escher (36) joined Professional360 GmbH as the new CEO. Under the brand name Panono the company offers professional 360 degree photo solutions for businesses and professional users, including its own award-winning camera hardware and customized software, cloud solutions and web integration.
“In Thomas Escher we have found a CEO with expertise both in media and entertainment and in classical e-commerce,” said a spokesperson of Bryanston Group AG, the company who has acquired the assets of Panono and has been running its business operations since July 2017. Escher has held a number of top-level management positions in media houses such as Axel Springer and ProSiebenSat.1 Media, and, among others, managed the French foreign business of the online toy retailer MyToys. As the Chief Marketing Officer (CMO) of the Allianz affiliate InstaMotion, an online dealer for second-hand cars, hewas responsible for marketing and sales activities.

From “technology first” to “customer first”

Panono aims to continue the expansion of 360 degree solutions. “108 megapixels make our camera the highest resolution 360 degree one-shot camera in the market. We will strive to uphold and extend this technological leadership in the future. However today this is no longer enough: especially among professional users, there’s a growing demand for individual software, cloud and web applications. They desire a first-class virtual presence both for web and mobile applications, as well as the most innovative content solutions”, explained Escher. “With this in mind we will further develop our platform, softwarefeatures and services, both independently and via sector-specific strategic partnerships. We have already implemented some exciting features, and there are more on the horizon.”

Focus on real estate and construction

Panono has been giving special attention to the real estate sector. “At the moment, real estate is still very traditional) in its structures and processes, but with digitization moving forward, there are dramatic changes ahead in the next years,” said Thomas Escher. “For one of our customers, we have developed a tool to create virtual tours out of our 360 degree images and to link them to a floor plan. This way, complete houses can be viewed online. Our customers can offer their clients viewings that are independent as to both time and place.” According to Escher, Panono also offers interesting possibilitiesfor construction and maintenance companies, for example when it comes to the documentation of building conditions and work progress.

]]>http://seriouslyphotography.com/2018/02/panono-has-new-ceo-puts-focus-on-software-solutions/feed/0167548Instagram is Now Alerting Users When People Screenshot Storieshttp://feedproxy.google.com/~r/PetaPixel/~3/5C5FNHh-y1E/
http://feedproxy.google.com/~r/PetaPixel/~3/5C5FNHh-y1E/#respondThu, 15 Feb 2018 19:44:58 +0000http://petapixel.com/?p=303730Continue reading "Instagram is Now Alerting Users When People Screenshot Stories"]]>
Instagram is testing out a new feature that Snapchat helped make famous: users are being notified when other people shoot screenshots of photos and videos in Instagram Stories.
Some users have begun seeing advance notices from Instagram saying that the next time they shoot a screenshot or screen recording of a story, the owner of the story will be notified:

TechCrunch confirmed the existence of this new feature being tested with Instagram, which stated that, “we are always testing ways to improve the experience on Instagram and make it easier to share any moment with the people who matter to you.”
“To be clear, creators won’t get a specific notification when someone takes a screenshot of their story, it will only show up in their list of story viewers,” TechCrunch writes. “Instagram is likely using this test to see if the feature has any noticeable impact on engagement, before deciding whether or not they’ll roll it out to all users.”
Instagram also currently notifies all users when someone snaps a screenshot of a private direct message.

]]>https://petapixel.com/2018/02/15/instagram-now-alerting-users-people-screenshot-stories/feed/0167560How to Remove Large Objects in Photoshophttps://fstoppers.com/bts/how-remove-large-objects-photoshop-222543?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/bts/how-remove-large-objects-photoshop-222543?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondThu, 15 Feb 2018 19:39:00 +0000https://fstoppers.com/p/222543
Have you ever tried to remove an object from a photo, but just couldn't get it to look right, whether it be because of the lighting, color, or actual selection? This tutorial provides a handful of tips for perfectly removing objects in Photoshop.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/how-to-remove-large-objects-in-photoshop/feed/0167627GVM High CRI Affordable LED Light Panelshttp://cheesycam.com/gvm-high-cri-affordable-led-light-panels/
http://cheesycam.com/gvm-high-cri-affordable-led-light-panels/#respondThu, 15 Feb 2018 19:04:51 +0000http://cheesycam.com/?p=48252Continue reading "GVM High CRI Affordable LED Light Panels"]]>small LED Lights that have been popping up lately is from a company called GVM (Great Video Maker). Starting at just $149 dollars with tons of excellent reviews (seen here), the GVM LED lights look like a great bit of kit for those who may just be starting out.
While I find the build quality, overall output, and Color Rendering excellent at this price point, there are a few 'quirks' one should know about the GVM 520 and GVM 672 LED Light panels. I've mentioned a few of them through my video review, but the

out 'quirk' for me would be the lack of a battery meter advising you about how much time you have left. I feel this is one of the most important features any battery operated light should have (even if it's just an approximation). The last thing you want to worry about is having a light suddenly power off in the middle of an interview.
Second, it's nice that they offer built in wireless to control other GVM lights, it is limiting. Every light will have the exact same brightness and color temp setting. I see these lights being used on location as a small 3 piece kit, in which a majority of the time each light will have different brightness settings. If they were to introduce a handheld remote, then I feel the wireless controls would be much more appealing.
For 520 and 672 LEDs in a small panel, these will work best for talking head shots or maybe when working with products. They are probably not best suited for lighting large spaces. Overall I think the light offers excellent color reproduction for it's price. The phrase 'Bang for the buck' comes to mind when working with these lights.
You can find the GVM LED panels available via Amazon (click here).
GVM 520 672 LED Video Lights
The post GVM High CRI Affordable LED Light Panels appeared first on CheesyCam.]]>http://cheesycam.com/gvm-high-cri-affordable-led-light-panels/feed/0167546Lensbaby Unveils the Burnside 35, the First Wide-Angle Petzval Lenshttp://feedproxy.google.com/~r/PetaPixel/~3/gsnvgquSSo4/
http://feedproxy.google.com/~r/PetaPixel/~3/gsnvgquSSo4/#respondThu, 15 Feb 2018 19:01:42 +0000http://petapixel.com/?p=303713Continue reading "Lensbaby Unveils the Burnside 35, the First Wide-Angle Petzval Lens"]]>
Lensbaby has announced the new Burnside 35, a creative 35mm f/2.8 lens that’s the first-ever wide-angle adaptation of the Petzval lens design.
Photos captured with the Burnside 35 have a bright central area of sharp focus and “striking” color rendition. This area is surrounded by a region of swirling bokeh and vignetting, which is variable and controlled by the photographer.
An effect slider on the lens operates as a second internal 8-blade iris, changing the shape and intensity of the swirl in the bokeh while controlling the brightness of the center and vignetting on the edges.
“You can toggle

gold-anodized effect slider on the barrel of the lens to create variable balance and harmony between center brightness, bokeh and vignette,” Lensbaby says. “The effect slider features a four-stop range of vignette and bokeh enhancement so you can dial in the exact look that appeals to you.”
Other specs and features of the Burnside 35 include a 6-blade main aperture, a minimum focusing distance of 6 inches (~15cm), a 62mm filter thread, manual focusing, a weight of 13.2oz (~374g), and 6 multi-coated glass elements in 4 groups.
Here are some sample photos captured with the Burnside 35 that show the effect:
Photo by Ryad GuelmaouiPhoto by Andy HoarePhoto by Caroline JensenPhoto by Joe PorterPhoto by Louise ZabriskiePhoto by Nic MullerPhoto by Ryad GuelmaouiPhoto by Ryad Guelmaoui
Lensbaby started its history with plastic, tilting, selective-focus lenses, but in recent years the company has been branching out into all-metal, non-tilting lenses (such as the Velvet 56mm f/1.6 and Velvet 85mm f/1.8.
The Burnside 35 is now available for Canon EF, Nikon F, Sony A, Pentax K, Micro 4/3, Sony E, Fuji X and Samsung NX and costs $500 on Lensbaby’s website and through authorized retailers such as B&H.

]]>https://petapixel.com/2018/02/15/lensbaby-unveils-burnside-35-first-wide-angle-petzval-lens/feed/0167542This is What Happens When You Hire a Nigerian Scammer as a Photographerhttp://feedproxy.google.com/~r/PetaPixel/~3/MWb2xJer0fA/
http://feedproxy.google.com/~r/PetaPixel/~3/MWb2xJer0fA/#respondThu, 15 Feb 2018 18:24:58 +0000http://petapixel.com/?p=303522Continue reading "This is What Happens When You Hire a Nigerian Scammer as a Photographer"]]>

Here’s an unusual and inspiring 8-minute video by photographer Adam Grumbo of Matters To That One. After he was contacted online by a Nigerian scammer posing as a “hot American girl,” Grumbo decided to hire the scammer as a documentary photographer.
Grumbo tasked the scammer-turned-photographer with photographing the food, surroundings, and homes in his village, and Tobi was promised payment for his photography. So, ignoring all the common sense advice commonly given to Internet users, Grumbo wired Tobi $100 in return for photos from the market.
“He went into town and got some tomato juice, onions, peppers, and fish,” says

. “He made one of Nigerians’ favorite dishes. I know that Tobi is really struggling to survive in Nigeria. Me and most people watching this video are much more fortunate than he is. I had to give him the benefit of the doubt.”
Tobi also recorded a thank you video.
“I know God has plans for everything,” he says. “To even talk to somebody outside my country, it’s really a very big privilege for me.”

Grumbo is now fundraising for Tobi’s next photography assignment and you can support that project on GoFundMe.

]]>https://petapixel.com/2018/02/15/happens-hire-nigerian-scammer-photographer/feed/0167544Panasonic AU-EVA1 Adds Sigma Art Lens Supporthttps://nofilmschool.com/2018/02/panasonic-au-eva1-adds-sigma-art-lens-support
https://nofilmschool.com/2018/02/panasonic-au-eva1-adds-sigma-art-lens-support#respondThu, 15 Feb 2018 18:15:00 +0000http://seriouslyphotography.com/?guid=1ac4837fa132b3b2cdd808b8dd0229efContinue reading "Panasonic AU-EVA1 Adds Sigma Art Lens Support"]]>
New firmware expands lens compatibility for the 5.7K cinema camera to popular Sigma Art lenses.
The Panasonic 5.7K Super 35mm cinema camera received firmware update v1.12 today and it's good news for shooters using Sigma Art optics. With the release, the AU-EVA1 now supports Sigma EF lenses 12-24mm F4 DG HSM, 24-70mm F2.8 DG OS HSM, 14mm F1.8 DG HSM, 30mm F1.4 DC HSM, 85mm F1.4 DG HSM, and 135mm F1.8 DG HSM. The update also corrected abnormal vales in iris and zoom which happened on rare .
If this is the first you're hearing about AU-EVA1, the handheld cinema camera supports high frame rate recording of 4K 60 fps and 2K 240 fps. Its 5.7K Super 35mm image sensor can record 10-bit 4:2:2 images with a wide 14-stop dynamic range. For those in need of low light performance, Dual Native ISO is available at 800 and 2500 for low noise workflows. Similar to Panasonic's higher-end VariCam cameras, this compact version supports V-Log gamma and a wide-color gamut V-Gamut colorimetry for the "VariCam look." You can read our full review here.
Read More]]>http://seriouslyphotography.com/2018/02/panasonic-au-eva1-adds-sigma-art-lens-support/feed/0167540Windows 10 is Getting a New ‘Ultimate Performance’ Mode for Proshttp://feedproxy.google.com/~r/PetaPixel/~3/bWAi_TCdo3o/
http://feedproxy.google.com/~r/PetaPixel/~3/bWAi_TCdo3o/#respondThu, 15 Feb 2018 17:56:25 +0000http://petapixel.com/?p=303701Continue reading "Windows 10 is Getting a New ‘Ultimate Performance’ Mode for Pros"]]>
Want to squeeze some extra juice out of your Windows 10 workstation? Microsoft has just unveiled a new “Ultimate Performance” power plan that’s coming to Windows 10 Pro.
The new plan is designed for advanced users for whom “High Performance” isn’t enough. It helps speed things up by “eliminating micro-latencies” that come with “fine-grained power management techniques” — instead of thinking about power, the workstation will focusing even more on performance.
“As part of our effort to provide the absolute maximum performance we’re introducing a new power policy called Ultimate Performance,” Microsoft says. “Windows has developed key areas where performance

efficiency tradeoffs are made in the OS.
“Over time, we’ve amassed a collection of settings which allow the OS to quickly tune the behavior based on user preference, policy, underlying hardware or workload.”
You’ll be able to use the new power plan by going to Power Options under Hardware and Sound and selecting Ultimate Performance. As with the other power policies in Windows, you’ll be able to customize the Ultimate Performance policy to meet your personal needs.
“As the power scheme is geared towards reducing micro-latencies it may directly impact hardware; and consume more power than the default balanced plan,” Microsoft warns.
The new Ultimate Performance mode is being tested by Windows Insiders in the latest Windows 10 Insider Preview Build (17101). No word yet on when it will be officially released to the general public. It will also be interesting to see what kind of impact the new policy has on intensive tasks done in apps like Photoshop and Lightroom.
(via Windows Blogg via Engadget)

]]>https://petapixel.com/2018/02/15/windows-10-getting-new-ultimate-performance-mode-pros/feed/0167530Panasonic G9 Field Test Part II: Taking a look at the video features of this stills-centric Lumix flagshiphttps://www.imaging-resource.com/news/2018/02/15/panasonic-g9-field-test-part-ii-video-features
https://www.imaging-resource.com/news/2018/02/15/panasonic-g9-field-test-part-ii-video-features#respondThu, 15 Feb 2018 17:40:30 +0000https://www.imaging-resource.com/news/2018/02/15/panasonic-g9-field-test-part-ii-video-featuresContinue reading "Panasonic G9 Field Test Part II: Taking a look at the video features of this stills-centric Lumix flagship"]]>Click here to read our <a href="https://www.imaging-resource.com/PRODS/panasonic-g9/panasonic-g9A.HTM#shooting2">Panasonic G9 Field Test Part II</a>
When one hears "Panasonic mirrorless camera" and "video recording," you probably immediately think of the GH5 or new GH5S, and for good reason -- they are amazing video cameras. With the recent <a href="http://www.imaging-resource.com/PRODS/panasonic-g9/panasonic-g9A.HTM">G9 camera</a>, however, Panasonic focused more on still photography features and performance. Despite that, the G9 is quite a versatile, high-quality video camera, offering a lot of high-end features at a very competitive price. In fact, it&#39;s one of the very few sub-$2,000 cameras that...
<br /><a class="readMore" href='https://www.imaging-resource.com/news/2018/02/15/panasonic-g9-field-test-part-ii-video-features'>(read more)</a>
]]>http://seriouslyphotography.com/2018/02/panasonic-g9-field-test-part-ii-taking-a-look-at-the-video-features-of-this-stills-centric-lumix-flagship/feed/0167525Why Practicing Minimalist Landscape Photography Can Make You a Better Photographerhttps://fstoppers.com/education/why-practicing-minimalist-landscape-photography-can-make-you-better-photographer-222511?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/education/why-practicing-minimalist-landscape-photography-can-make-you-better-photographer-222511?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondThu, 15 Feb 2018 17:32:00 +0000https://fstoppers.com/p/222511Continue reading "Why Practicing Minimalist Landscape Photography Can Make You a Better Photographer"]]>
Minimalism in any art form is a deceptively difficult thing to pull off successfully, as the increased importance of every element shrinks the line between profound and mundane to a razor's edge. Nonetheless, the practice of minimalism — even if only ars gratia artis — can be a sort artistic sieve through which a clarity of your own expression emerges.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/why-practicing-minimalist-landscape-photography-can-make-you-a-better-photographer/feed/0167691This Crypto-Art Rose Photo Sold for $1,000,000http://feedproxy.google.com/~r/PetaPixel/~3/yCapP2rv0rM/
http://feedproxy.google.com/~r/PetaPixel/~3/yCapP2rv0rM/#respondThu, 15 Feb 2018 17:29:46 +0000http://petapixel.com/?p=303686Continue reading "This Crypto-Art Rose Photo Sold for $1,000,000"]]>Kevin Abosch, the photographer who purportedly sold a photo of a potato for over $1,000,000 in 2016, has now become the photographer behind the world’s most expensive crypto-artwork by selling a photo of a rose on the blockchain for $1,000,000.
CNN reports that the photo, titled Forever Rose, was purchased yesterday on Valentines Day by a group of 10 collectors that included investment funds, an advisory firm, crypto projects, and a leading China-based crypto investor. There were over 150 interested buyers, and the 10 collectors who ended up purchasing the photo split the price (paid in GTO and

tokens) evenly 10 ways. The $1 million is believed to be the highest price ever paid for a cryptocurrency artwork.
“The Forever Rose is an ERC20 token called ROSE on the Ethereum blockchain that is based on Abosch’s photograph of a rose,” Crowdfund Insider reports. “The buyers each receives 1/10 of the ROSE token. The purchasers can decide to sell their partial rose.”
Abosch created Forever Rose in collaboration with GIFTO, a decentralized gifting platform that stores its record of collectibles on the Ethereum blockchain.
The photographer and platform have donated the proceeds from the sale ($1 million worth of Ether) to CoderDojo Foundation, which provides free programming programs for kids aged 7 to 17 years old.

]]>https://petapixel.com/2018/02/15/crypto-art-rose-photo-sold-1000000/feed/0167532Fstoppers Review Magilight by Fotorgear, the Perfect Tool for Light Painters and Still Life Photographershttps://fstoppers.com/originals/fstoppers-review-magilight-fotorgear-perfect-tool-light-painters-and-still-life-222488?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/originals/fstoppers-review-magilight-fotorgear-perfect-tool-light-painters-and-still-life-222488?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondThu, 15 Feb 2018 16:52:00 +0000https://fstoppers.com/p/222488
Creating long exposure is fun, but having the right tools to paint magic shapes with light makes it even better. The Magilight by Fotorgear is meant to help you bring to life the most insane long exposure you’ve ever dreamed of. Here is its review.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/fstoppers-review-magilight-by-fotorgear-the-perfect-tool-for-light-painters-and-still-life-photographers/feed/0167580How ‘Holy Air’s Eleven-Year Production Turned Personal Struggles into Laughterhttps://nofilmschool.com/2018/02/holy-air-shady-srour-laetitia-eido-interview
https://nofilmschool.com/2018/02/holy-air-shady-srour-laetitia-eido-interview#respondThu, 15 Feb 2018 16:45:00 +0000http://seriouslyphotography.com/?guid=f59057f4ba947f3cc1d4566ffdad1a86Continue reading "How ‘Holy Air’s Eleven-Year Production Turned Personal Struggles into Laughter"]]>
Shady Srour’s politically-tinged comedy 'grew up' as the director did.
When you come from a religious minority of an ethnic minority in a religious state, religion is no laughing matter. Or, in Shady Srour’s case, that’s exactly what it is. From traditional taboos to Christian pilgrimage, Srour’s second directorial feature, Holy Air, leaves nothing off the table for potential mockery, and yet the film captures the complexities of some poignantly emotional moments.
The multi-layered tale takes place in Srour’s real hometown of Nazareth in Northern Israel, a predominantly Arab city which home to much of the country’s Arab-Christian population. When Adam (also played by Srour, who is primarily known for his acting) must support his pregnant wife and ill father, he turns to bottling and selling “holy air” to tourists aiming to take home a little piece of Jesus.
Read More]]>http://seriouslyphotography.com/2018/02/how-holy-airs-eleven-year-production-turned-personal-struggles-into-laughter/feed/0167522Five Ways to Use a Beauty Dishhttps://fstoppers.com/lighting/five-ways-use-beauty-dish-222486?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/lighting/five-ways-use-beauty-dish-222486?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondThu, 15 Feb 2018 16:40:00 +0000https://fstoppers.com/p/222486
Interested in learning some new lighting setups when using a beauty dish? I've created a video sharing five different ways that I utilize a beauty dish for my studio portrait work as well as discussing some of the benefits of each setup.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/five-ways-to-use-a-beauty-dish/feed/0167586Fujifilm Unveils the X-H1: 4K Video and In-Body Stabilizationhttp://feedproxy.google.com/~r/PetaPixel/~3/yarY1UVLW4s/
http://feedproxy.google.com/~r/PetaPixel/~3/yarY1UVLW4s/#respondThu, 15 Feb 2018 16:38:30 +0000http://petapixel.com/?p=303661Continue reading "Fujifilm Unveils the X-H1: 4K Video and In-Body Stabilization"]]>
Fujifilm just unveiled the X-H1, a pro-grade X Series mirrorless camera with 4K and professional video capabilities. As recent rumors foretold, the X-H1 is also the first X Series body with in-body image stabilization.
“The new X-H1 is the highest performance camera in the X Series line of mirrorless cameras,” Fujifilm says.

The X-H1 features a 24.3-megapixel APS-C X-Trans CMOS III crop sensor paired with an X-Processor Pro image processing engine. It has an ISO range of 200-12800 (extendable to 100-51200) and a continuous shooting speed of 14fps.
For video shooters, the X-H1 boasts DCI 4K (4096×2160),

high-speed video, F-log SD card recording, a 400% dynamic range setting (~12 stops), 200 Mbps high bit rate recording, verbal time codes, and a high-quality internal mic (24 bit/48 kHz).
The X-H1 is the first X Series camera to feature a new film simulation mode named ETERNA, which is geared toward movie-making. It’s a mode that “simulates cinematic film, creating understated colors and rich shadow tones, greatly enhancing creative freedom during post-processing,” Fujifilm says.
Another first in the X-H1 is the flicker reduction mode, which stabilizes exposure during bust shooting under difficult lighting conditions such as fluorescent and mercury lighting.

In the area of autofocusing, the X-H1 has a 325-point intelligent hybrid AF system with an improved low-light phase-detection AF limit that’s 1.5 stops lower (from 0.5EV to -1.0EV), which allows for faster and more precise focusing in dark situations. The minimum aperture during this type of autofocusing has also been raised from f/8 to f/11.
The new 5-axis in-body image stabilization provides 5.5 stops of compensation. It uses three axial accelerometers, three axial Gyro sensors, and a custom dual-processor that crunches a whopping 10,000 calculations per second to help combat your hand shake. Since it’s built into the camera, the stabilization is compatible with all XF and XC lenses.

Fujifilm also included a new spring system in the camera that helps reduce the micro-vibrations caused by the camera’s mechanical shutter. If you’d really like to eliminate these vibrations, you can also use the electronic front curtain shutter or electronic shutter to virtually eliminate them.
Build-wise, the X-H1 is rugged. Its magnesium alloy body (25% thicker than in the X-T2) is dust-resistant, water-resistant, cold-resistant (down to 14°F-10°C), scratch-resistant, and impact-resistant.
On the back of the X-H1 is a 0.5-inch, 3.69-million-dot, 0.75x electronic viewfinder with a display lag of 0.005s and a frame rate of 100fps. Underneath that is a 3-inch 1.04-million-dot LCD touchscreen that has 3-way tilting abilities.
The top of the camera also has a 1.28-inch sub-LCD that provides shooting info at-a-glance.
Other features and specs include a large grip, a leaf-spring switch for the shutter-release button, a near-silent shutter, and a new focus level.
Here are some sample official photos captured with the Fujifilm X-H1 (you can download them in high-res and see EXIF data here):
Photo by Andrew HallPhoto by Noriyuki WatabePhoto by Akihiro SatoPhoto by Tatsuya TanakaPhoto by Naonori KohiraPhoto by Klaus Bo
The Fujifilm X-H1 will be available starting on March 1, 2018, with a price tag of $1,900. It will also be available with a Vertical Power Booster Grip for $2,200.

]]>https://petapixel.com/2018/02/15/fujifilm-unveils-x-h1-4k-video-body-stabilization/feed/0167513Lensbaby Introduces New Burnside Lens With Extra Creative Controlhttps://fstoppers.com/gear/lensbaby-introduces-new-burnside-lens-extra-creative-control-222482?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS
https://fstoppers.com/gear/lensbaby-introduces-new-burnside-lens-extra-creative-control-222482?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS#respondThu, 15 Feb 2018 16:33:00 +0000https://fstoppers.com/p/222482
Lensbaby, known for their creative specialty lenses, has a following of folks that either love or hate the effects. I personally love the effects when used properly. The latest offering, called Burnside, is a 35mm f/2.8 which is similar to the Twist 60 but with more versatility.
[ Read More ]]]>http://seriouslyphotography.com/2018/02/lensbaby-introduces-new-burnside-lens-with-extra-creative-control/feed/0167534A Fully Loaded $14,000 iMac Pro vs. a Fully Loaded $6,000 iMachttp://feedproxy.google.com/~r/PetaPixel/~3/9H9fFlj9sCw/
http://feedproxy.google.com/~r/PetaPixel/~3/9H9fFlj9sCw/#respondThu, 15 Feb 2018 16:00:48 +0000http://petapixel.com/?p=303512Continue reading "A Fully Loaded $14,000 iMac Pro vs. a Fully Loaded $6,000 iMac"]]>

Is it worth upgrading to the latest fully loaded iMac Pro, which will cost you $14,000? Filmmaker Parker Walbeck recently went hands-on to find out. Here’s his interesting 4-minute video review that looks at the speed comparisons between a fully loaded iMac Pro and a fully loaded $6,000 iMac.
The review shows side-by-side comparisons of each computer running a number of tasks. First off, Walbeck tests playback speeds of RED 8K footage. The iMac Pro plays back flawlessly at real speed while the iMac had to have the resolution reduced to 1/8th to see the same smooth playback.
Walbeck found

the iMac Pro rendered about twice as fast as the iMac, but interestingly the Warp Stabilizer effect in Adobe Premiere performed 25% better on the iMac — apparently a quick that has to do with the number of cores that task utilizes.
“I definitely think there is a point of diminishing returns,” says Walbeck. “You’re going to pay a premium for the latest and greatest tech.”

]]>https://petapixel.com/2018/02/15/fully-loaded-14000-imac-pro-vs-fully-loaded-6000-imac/feed/0167515‘Edward Hopper and Marshall’s House’ by Bob Burnetthttp://feedproxy.google.com/~r/typepad/ZSjz/~3/o4tqrZJkE6g/edward-hopper-and-marshalls-house-by-bob-burnett.html
http://feedproxy.google.com/~r/typepad/ZSjz/~3/o4tqrZJkE6g/edward-hopper-and-marshalls-house-by-bob-burnett.html#respondThu, 15 Feb 2018 15:51:56 +0000http://seriouslyphotography.com/?guid=f5aae62dd57e7b82e76ca45b0e5318f2http://seriouslyphotography.com/2018/02/edward-hopper-and-marshalls-house-by-bob-burnett/feed/0167509The Art of the Personal Project: Guzmanhttp://aphotoeditor.com/2018/02/15/the-art-of-the-personal-project-guzman/
http://aphotoeditor.com/2018/02/15/the-art-of-the-personal-project-guzman/#respondThu, 15 Feb 2018 15:00:32 +0000http://aphotoeditor.com/?p=43143Continue reading "The Art of the Personal Project: Guzman"]]>Guzman
We move through the world visually. Most days, we carry a camera capturing a living image, a talisman, instinctively collecting bits and pieces of what we see. A landscape, a portrait or a still life, our visual diary helps us make sense of the world. Hopefully, these varied facets of our imagery, thread together so that the viewer can enjoy the images visually and perhaps elucidate their own landscape.
Our interest in attending the recent demonstrations and documenting the women and men that have taken to the street, is to capture their anger, their desires and their demands, in the hope that our images can help articulate, visually, the spirit of these events.
“I always had a decent sense of outrage”
– Bella Abzug
To see more of this project, click here.
Guzman is now being represented by four eleven.agency
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s. After establishing the art buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a in 1999. She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty. Follow her at @SuzanneSease.
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